Opening on October 31, Erik Parker has an exciting new exhibition opening at Honor Fraser Gallery in LA. Entitled “Endless Anytime”, this collection of new works marking “a shift in the artist’s subject matter moving away from the amorphous figure and psychological portrait, and towards the long standing art historical tradition of still lifes, nudes and landscapes”.

Erik Parker is known for his meticulously painted and methodically curated worlds of chaos within brightly colored, highly saturated canvases depicting unique worlds of anthropomorphic figures and psychological portraits. Parker obsessively paints layer upon layer of amorphous shapes, globules and drops, pushes each composition to the optical extreme and suggests madness through bold and fragmented forms while still maintaining a strong sense of premeditated order, space and composition. Parker’s biomorphic subjects have not only referenced the hallucinogenic psychedelia of American culture in the 1960’s, but also have addressed broader historical and contemporary socio-political issues. Informed by a variety of sub cultural themes, including music, graffiti and illustration, his work offers a profound visual experience beyond his intensely layered forms of text and imagery.

Parker’s exhibition Endless Anytime marks a shift in the artist’s subject matter moving away from the amorphous figure and psychological portrait, and towards the long standing art historical tradition of still lifes, nudes and landscapes. Throughout his oeuvre Parker has been influenced by greats like Picasso and Francis Bacon, but here he channels the influence of nearly every great artist as these traditional genres have existed since ancient Greek and Roman eras.

Parker’s recent paintings look to the modernists Georges Braque, Henri Rousseau and Roy Lichtenstein. Just as Lichtenstein paid homage to the still lifes and nudes of Picasso and Matisse, Parker does the same. Pulling from the allegorical iconography of table-scapes and flower arrangements and the symbolism of abundant assemblages of fruit Parker continues in this classical tradition, yet his unmistakable palate, style and compositional psychology is ever present. Here he deconstructs these objects, fragments the forms and shifts geometric grounds and planes. Parker also reintroduces the figure, yet instead of painting his typical fragmented and oftentimes tortured anthropomorphic portraits, here he presents the viewer with a classical nude. Yet, there is still a sense of madness and chaos in these obsessively rendered worlds, a hallucinogenic order juxtaposed with a historically traditional subject matter.