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INSIGHT: Week 8 | Aimée Parrott

Past viewing_room
5 - 11 August 2020
  • INSIGHT: Week 8 | Aimée Parrott

    5-11 August
  • INSIGHT IS A NEW ONLINE PLATFORM PRESENTED BY PIPPY HOULDSWORTH GALLERY, DEBUTING WORK BY A DIFFERENT ARTIST EACH WEEK. NEW WORK MADE DURING LOCKDOWN WILL BE HIGHLIGHTED ALONGSIDE A short VIDEO PRESENTED BY THE ARTIST. 

     

  • INSIGHT: WEEK 8 | aimée parrott

  • Aimée Parrott's practice encompasses painting, printing, sculpture, artist books, murals and installation. The artist's understanding of painting, her primary medium, informs the ideas expressed throughout her practice as whole. Approaching the canvas as a fragile and permeable boundary - a metaphorical skin or body that holds the trace of time, thought and gesture - Parrott explores notions of transformation, connectivity and exchange.  

  • Aimée Parrott's new paintings explore ecology, geology and human relationships to nature, focusing on conceptions of hybridity and transformation. These...

     

    Aimée Parrott's new paintings explore ecology, geology and human relationships to nature, focusing on conceptions of hybridity and transformation. These ideas are reflected in the multiple processes and media that shift towards sculpture, collage, and drawing to probe the limits of painting. This new body of work adopts the technique of monotype printing to incorporate spontaneity, fluidity and an element of chance into a singular image. 

     

     

    MATRIX, 2020

    ink on calico, acrylic, polymer clay, pins, thread, sapele and ply frame

    42 x 32 cm, 16 1/2 x 12 5/8 in
    £2,500.00 (ex tax)

     

     

  • 'The material presence of a painting, its fragility and yet density – its sense of layered time which benefits from a long slow look in order to unfold – is in contrast to the slipperiness of the sanitised, disembodied image on a screen hastily scrolled through'.

    Aimée Parrott in conversation with Basil Beatty RA, Royal Academy Magazine, 2016

  • The artist applies paint freely onto the matrix, fixing the work only at the moment of printing. This process leaves...

    The artist applies paint freely onto the matrix, fixing the work only at the moment of printing. This process leaves a trace on the copper plate, a ghost of the previous work that Parrott, at times, chooses to keep as an under-layer that informs the next. By working in this way, she introduces seriality and repetition into her practice - a reverberation between the works themselves.

     

     

    mouth, 2020

    ink on calico, acrylic, thread, sapele and ply frame
    32 x 42 cm, 12 5/8 x 16 1/2 in
    £2,500.00 (ex tax)

     

     

  • '[Parrott] makes connections between microbial and galactic, human and non-human, and gives painting a voice in the ecological discussions of today.' 

    Figgy Guyver, Frieze, 2018

  • Seriality and repetition are echoed in her imagery as recurring forms stretch between micro and macro scales, shifting from abstraction...

    Seriality and repetition are echoed in her imagery as recurring forms stretch between micro and macro scales, shifting from abstraction to figuration. The shapes of shells, mouths, cells, planets, plants and holes evolve to form new relationships with each other, fluctuating between part and whole. Once the initial image is formed Parrott continues to transform the painting, often by embroidering the surface, extending the support, or attaching clay elements. These additional media create seams or junctures, points of transition between image and object.  

     

     

    HULL, 2020

    ink on calico, acrylic, thread, sapele and ply frame
    32 x 42 cm, 12 5/8 x 16 1/2 in
    £2,500.00 (ex tax)

  •  

    'Looking at Aimée Parrott’s […] paintings I think about this impulse to think through the hands and feel through the eyes. To put herself up against the edges of things that surround her. In a world governed by information and data, these paintings look to establish a connection between the hands and the lips, translating the textural nature of speech into the gestural language of paint.' 

    George Vasey, The Weight of a Pigment (On the work of Aimée Parrott), 2016

  • 'I don’t want to shift completely to figuration; I want to keep the play between the two. I really like the openness of abstraction, the associations keep rolling. Once you make something that looks like something or is nameable it can become slightly more direct or closed.'

    Aimée Parrott, The Studio, Royal Academy, 2016

  • Aimée Parrott, Torrent, 2020 (Larger version of this image opens in a popup).
    Aimée Parrott, Loam, 2020 (Larger version of this image opens in a popup).
    Aimée Parrott, Incantation, 2020 (Larger version of this image opens in a popup).
    Aimée Parrott, Thunderstone, 2020 (Larger version of this image opens in a popup).
    Aimée Parrott, Torrent, 2020
  • 'To stand before one work is to imagine it alone, a frozen temporality requiring a further inspection, a little dip if you must, in its pools of ink and dye.'

    Skye Arundhati Thomas, this is tomorrow, 2016

  • About Aimée Parrott

    About Aimée Parrott

    British artist, Aimée Parrot, graduated from University College Falmouth in 2009 with a BA in Fine Art and in 2014 received a Post Graduate Diploma from the Royal Academy, London. Recent solo exhibitions include those at Pippy Houldsworth Gallery, London (2018); Trade Gallery, Nottingham (2018) and Breese Little, London (2016). In 2015 Pippy Houldsworth Gallery presented a two-person show, Soaked, Not Resting, with Parrot and Color Field exponent, Helen Frankenthaler. The exhibition examined the ways in which the two artists negotiate the picture plane, looking in particular at both artists' deployment of staining. Her work has also been included in exhibitions at the Royal Academy of Arts, London; Stadtgalerie Bamberg - Villa Dessauer, Bamberg; Hastings Contemporary, Hastings; Platform Foundation, London and Exeter Phoenix, Exeter. Awards include first prize in the Exeter Contemporary Open (2017) and the Dentons Art Prize (2016). In 2019 Parrott curated All That the Rain Promises and More, for the Edinburgh Arts Festival, hosted by Arusha Gallery, Edinburgh. Upcoming solo exhibitions include Broadway Gallery, Letchworth (2020) and Mackintosh Lane, London (2021). Parrott has been selected to participate in Villa Lena Foundation's residency programme (2021).

  • 'Primarily I think about painting as a way of being in contact with the world. I find it useful to approach the surface of a painting as a metaphorical skin, a permeable barrier. I am interested in the notion that a work of art can bridge the gap between an internal reality and an external one, that it can be a physical manifestation and a translation of experience.'

    Aimée Parrott, Dais Contemporary, 2016

  • Installation views

    Aimée Parrott, Blood, Sea, Pippy Houldsworth Gallery, London (2018) (Larger version of this image opens in a popup).
    Aimée Parrott, Blood, Sea, Pippy Houldsworth Gallery, London (2018) (Larger version of this image opens in a popup).
    Helen Frankenthaler, Aimée Parrott, Soaked, Not Resting, Pippy Houldsworth Gallery, London (2015) (Larger version of this image opens in a popup).
    Helen Frankenthaler, Aimée Parrott, Soaked, Not Resting, Pippy Houldsworth Gallery, London (2015) (Larger version of this image opens in a popup).
    (Larger version of this image opens in a popup).
    Aimée Parrott, The Royal Academy, London (2014) (Larger version of this image opens in a popup).
    Aimée Parrott, The Royal Academy, London (2014) (Larger version of this image opens in a popup).

    Aimée Parrott, Blood, Sea, Pippy Houldsworth Gallery, London (2018)

  • Press

    • Frieze

      Frieze

      26 July 2019

      Seven Highlights from the Edinburgh Art Festival. By Figgy Guyver

    • Frieze

      Frieze

      30 May 2018

      Critics Guide to London: The Best Shows in Town. By Figgy Guyver

    • The Art Newspaper

      The Art Newspaper

      30 April 2018

      Private view: our pick of May gallery shows. By James H. Miller

    • Royal Academy Magazine

      Royal Academy Magazine

      17 November 2016

      How do painters from different generations see Abstract Expressionism today? Two RA Schools alumni, Basil Beattie RA and Aimée Parrott, met in the Academy’s show to discuss the movement’s enduring influence.

    • this is tomorrow

      this is tomorrow

      21 November 2016

      Review by Skye Arundhati Thomas

       

    • The Studio, Royal Academy Schools

      The Studio, Royal Academy Schools

      Autumn 2016

      Aimée Parrott interviewed by Jonathan Stubbs.

    • Dais Contemporary

      Dais Contemporary

      2016

      Interview with Aimée Parrott

    • Artsy

      Artsy

      28 January 2015

      In Duet, Frankenthaler and Parrott show the Past and Future of Stain Painting. By Stephen Dillon

    • Royal Academy Magazine

      Royal Academy Magazine

      23 January 2015

      RA recommends. By Sam Phillips

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