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19th December 2008
EXHIBITION:

Exhibition Dates [EXTENDED]:
January 7th - 31st, 2009

Green Fuse Series: Untitled VI

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Lynn Parotti and Paul Vanstone are delighted to extend "The Force That Through the Green Fuse Drives the Flower" until 31st January 2009. Exhibition re-opens Wednesday 7th January and runs through to the 31st January.

Opening Hours:
Wednesday and Friday 5:00pm – 9:00pm. Thursday, Saturday and Sunday 12:00pm - 5:00pm.

Viewing by appointment during the holidays please contact Lynn Parotti on 07951572352.

quick links: new paintings - press release - map

www.imperialwharf.com

14th November 2008
EXHIBITION:

Exhibition Dates:
December 8th - 22nd, 2008

LYNN PAROTTI & PAUL VANSTONE
The Force That Through the Green Fuse Drives the Flower
New Paintings and Sculptures

Green Fuse Series: Untitled IV		Paul Vanstone: Lazy ’O'

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quick links: new paintings - press release

Green Fuse: Untitled No.2		Paul Vanstone

Private View:
Wednesday 10th December 2008, 6:00 to 9:00pm

Unit 6
The Boulevard
Imperial Wharf
London SW6 2UB

R.S.V.P. Sally Abbott
E-mail: sa.stoneventures@hemscott.net
tel: 07887950204

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Opening Hours:
Monday - Friday 11:00am – 9:00pm. Saturday 11:00am - 10:00pm. Sunday 10:00am - 5:00pm.

Supported by Action Response Ltd, Imperial Wharf and Wimbledon Wine Cellar.

www.parotti.com
www.paulvanstone.co.uk
www.imperialwharf.com

12th November 2008
PRESS:

LLOYD'S LIST REVIEW



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10th November 2008
CHRISTMAS/WINTER OPEN STUDIOS:

Exhibition Dates:
December 6th-7th, 2008 Sat. & Sun. 12-6 both days.

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Contact:

STUDIO 43
Great Western Studios
The Lost Goods Building
Great Western Road
London W9 3NY - UK

mobile: 07951 572 352
fax: 020 7813 1390

Gallery hours:
Sat. & Sun. 12-6 both days.

www.greatwesternstudios.com

Directions:
If coming from the South (Notting Hill), make the immediate right turn after you pass the Westbourne Park Tube Station; or if coming from the North (Harrow Road), make the immediate left turn after the Bus Depot. The studios are directly behind the Bus Depot.

6th November 2008
PRESS RELEASE:

FOR IMMEDIATE RELEASE  
Press enquiries: theabowden@hotmail.com/07825943308

The Force That Through the Green Fuse Drives the Flower
Lynn Parotti and Paul Vanstone
Unit 6, Imperial Wharf, Fulham, SW6 2UB
December 8th – December 22nd, 2008
PRIVATE VIEW: Wednesday 10th December 2008, 6pm – 9pm
 
Award-winning London-based artists Paul Vanstone and Lynn Parotti are holding a joint exhibition of new sculpture and paintings with an ecological angle.
 
Vanstone works in marble and onyx creating fluidity of movement in human form and the abstract, perfectly complementing Parotti’s oil paintings of the Thames and the natural world. Drawing upon the Dylan Thomas poem from which the exhibition borrows its name, they comment on the flow of energy which drives not only life, but simultaneously destruction.
 
Parotti’s colour-saturated views of river cityscapes at night are described by rushes of electric light abstracted in oils. “I have always used water to describe concepts,” she says. “Water is a metaphor for the moral energy of people, time and place.” For her, the Thames is a powerful way of exploring ongoing themes of the temporality of life and her new works allude to the energy crisis and the fragility of our surroundings. These concerns bring Dylan Thomas’s poem to life in a new way, and highlight the contemporary relevance of his “green fuse”: that which fuels and delights us will also be our fall. Alongside the Thames works hang her Inagua series where salt lagoons, flamingos and mangroves prevail. As recently proven by unprecedented hurricanes on this Bahamian island, the ecology and the livelihoods of its inhabitants are under constant threat; many of Parotti's paintings such as those of salt mountains show landscapes which simply do not exist any more.  
  
A sense of flow is central to Vanstone’s work. There is of course the fluidity seen in the languorous curves of his “Indian Dancing Figures” and in the Grecian folds of drapery of the “Lazy O”, but Vanstone is also inspired by the composition and the energy of the marble itself. He says of his favourite marble, the Indian rainforest green: “It’s like the underneath of a leaf pattern. It’s like you’re working on something which is still alive. It’s full of red veins and full of life. And it just allows you to run wild”. His work is highly polished - with the polishing sometimes taking longer than the sculpting itself – to reveal these haunting threads of bright colour that shine out from beneath the glossy surface. One of his concerns is the way that marble both reflects and absorbs the light; this fundamentality of the flow of energy is inspired by Thomas’s poem.
 
Many of Vanstone’s sculptures will be placed on the riverbank and in the Imperial Wharf Sensory Garden, enabling them to be seen against the backdrop of the flow of the river, or framing views of the Thames themselves. Parotti’s evocations of bridges, skylines and water are directly recalled by the surroundings and also enhance her exploration into urban development. Both artists were keen to use the Imperial Wharf location for its contemporary design and also because the developers of the site, St. George, are committed to building sustainable communities and reducing their impact on the environment.

Vanstone has a growing reputation for his sculpture which has been featured in major institutions such as The British Museum and the V&A. He is a winner of the Henry Moore Award and was the assistant to Anish Kapoor. He has exhibited throughout the UK at Thompson's Gallery and St. Pancras in London, Asthall Manor in Gloucestershire, The Cass Sculpture Foundation at Goodwood and in many other galleries. His private and corporate commissions include life size sculptures for Sheffield United Football Club, as well as works for Lord and Lady Carrington and the owners of Blair Atholl Castle, Scotland.  His work is also collected in Italy, Majorca, Malta and Ireland.

www.paulvanstone.co.uk  

Parotti exhibits regularly in the UK, the Bahamas, the US and Italy; her work has been reviewed in The Miami Herald, The Evening Standard, and on Sky Television. Her awards include London Arts Board grants and a Skowhegan Fellowship. Her paintings hang in private and corporate collections such as those of Nippon Oil Exploration and Ansbacher Bank. Recent group exhibitions include “Safety Zones” concurrent with Art Basel Miami Beach in December 2007, while her solo show “When the Bough Breaks” featured at the Chelsea Arts Club last year. Her Inagua series was showcased at the Henley Festival this July, and was preceded by a joint exhibition in Nassau, Bahamas, where her work also hangs in the National Art Gallery.

www.parotti.com/green_fuse_home.html

20th July 2008
EXHIBITION:

THE NATIONAL ART GALLERY OF THE BAHAMAS: FOURTH NATIONAL EXHIBITION

Work from the The Inagua Series Prints and the Blastocyt’s Ball Paintings have been accepted by the jury for the Fourth National Exhibition in the Bahamas.

Exhibition Dates:
9th July 2008 - 30th January 2009

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Contact:

The National Art Gallery of the Bahamas
West Hill Street
Nassau
The Bahamas

Email: info@nagb.org.bs

www.nagb.org.bs

30th June 2008
EXHIBITION:

HENLEY FESTIVAL

Exhibition Dates:
9-13th July 2008

A selection of new prints and oil paintings from the Inagua series on show in the Festival Gallery.

Inagua Series: Breathers 107 x 168cm

click image to view the Inagua series

Contact:

Henley Festival
14 Friday Street
Henley-on-Thames
Oxon RG9 1AH

27th May 2008
SUMMER OPEN STUDIOS:

Exhibition dates:
June 7th-8th, 2008 Sat. & Sun. 12-6 both days.

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Private viewings available on request

From the series “Inagua” Untitled No. 8, 2 & 9 (Each 79 x 46 cm), oil on canvas, 2008.

Inagua Series: Untitled No.8		Inagua Series: Untitled No.2		Inagua Series: Untitled No.9

quick links: new paintings - new prints - press release

Contact:

STUDIO 43
Great Western Studios
The Lost Goods Building
Great Western Road
London W9 3NY - UK

mobile: 07951 572 352
fax: 020 7813 1390

Gallery hours:
Sat. & Sun. 12-6 both days.

www.greatwesternstudios.com

Directions:
If coming from the South (Notting Hill), make the immediate right turn after you pass the Westbourne Park Tube Station; or if coming from the North (Harrow Road), make the immediate left turn after the Bus Depot. The studios are directly behind the Bus Depot.

18th April 2008
PRESS:

The Nassau Guardian

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16th April 2008
PRESS RELEASE:

Lynn Parotti, The Inagua Series, oil paintings and prints

Great Inagua is the focus of Lynn Parotti’s latest work; exhibited for the first time in this joint exhibition, entitled 'Limit', with Holly Parotti. Considered as the first stage of an ongoing project, Lynn Parotti intends to further develop this work and possibly include other Bahamian flora and fauna and National Parks from an environmentalist point of view.

Inagua, the southernmost of the Bahama archipelago, is home to the world’s largest population of West Indian flamingos, who share a symbiotic relationship with the Morton Salt Company.  The flamingos feed on the brine shrimp that live in the salt lagoons, and in return keep the lagoons virtually algae-free. These beautiful, rare birds which once graced all the islands make their last retreat here in an remote and at times harsh environment of mangroves and other Indigenous trees like the Silver Buttonwood. The Morton Salt Company is the main company on the island so the islanders depend on it for their living. It is now one of the largest solar salt operations in the world.  The original settler name, Heneagua, was derived from a Spanish expression meaning “water is to be found there”. Water is not still.

For a number of years climate change and global warming has been the cause of growing unease to the industry on Inagua. It is now at crisis level; there is simply too much rain. Last year this above normal rainfall caused the salt cakes to melt, brine was diluted and there was a 240,000 ton deficit in the salt harvest. From December 2007 60% of the employees were on a three day week only just recently returning to normal in March. Could there be a future in eco tourism? How can a balance be kept to sustain the ecosystem?

The plight of Inagua has caught Lynn Parotti’s attention; the man made salt hills, ghostly, symbolic rather than representational, white skeletal calcified trees, a flash of pink. The tension is in the heavy brush strokes, the sheen of oil paint and viscosity of water, evoking but never dictating the reality. Here is the tension, the contradiction and contrast between the innate beauty of the shapes and forms found on Inagua, their fragility and ephemeral quality recognisable to us all. What we’ve assumed to be solid and unchanging may not be so at all. Parotti is giving us something beyond the scene; the emotion of being in a special time and place, the desperation of mangroves roots upended in their search for oxygen, the movement and rhythms of waves; waves of flamingos, waves of salt, reflections of de-saturated colour, washed out by salt, and sunlight. The connection and interdependencies of natural and manmade forces is expressed in these triptychs, with rich sumptuous colour and densely worked surfaces standing beside less vibrant palettes where the waves and sun and the effect of light seems to have washed out the colour or darkened and quietened it into the stillness of mangrove roots. Parotti says  “There is a meeting and clash of the living and the dead in the bleached remains of trees and the superlife of scattering frenetic flamingos and the more gentle ecosystem nursery of the breathing mangroves and other flora. The salt mountains, the sea and the flamingos create a superreal and somehow unbelievable view of life and of death as it is all happening simultaneously.

An urgency is palpable in these paintings, which nonetheless exercise seemingly effortless control and never surrender to the surreal. Like Hockney who claimed "that pictures he has chosen are ones that come direct from the heart, down the arm;” so too with Parotti’s paintings of Inagua. They do not stray entirely from their conceptual origins and from the photographs (taken during her and Holly Parotti’s expedition to Inagua in January 2008). However, they manage to convey an even more convincing reality than the original. Hegel contends that consciousness is a spiral, and knowledge is always self-overcoming. Forms exist to be contested and transcended in discrete works. Relationships are established in these triptychs between their salt hills and great sweeps and swoops of flamingo wings and waves and depths of root growth, shallows and light on water. Yet, from there it is a short move to canvases where more abstract treatment transforms and finally bowls over the natural. Paintings become Other; liminal, fundamental. They come to rest in their own dimension; fragile, vulnerable but yet with their own robust autonomy as finished work.

In Inagua: Untitled, No. 3–6, the salt crystals have become monumental, Auerbach-like strokes of dense oil create a dizzying perspective that contains something chemical and foreboding. The flamingos’ tail feathers in the salt pools create a strange sensuous opacity; their blurred movement reflected in a frenzy of zig-zag horizontals. Parotti has given extended life to the subjects through the palette with the impasto layer of brushstroke and colour densely laid on the canvas in short bursts of energy. There is anger here, and desolation as she pushes the limits beyond the literal, pushes the limits of the representational and symbolic rather than gradually becoming more resonant, pushing the paintings to whatever limits they will bear.

10th April 2008
GROUP EXHIBITION:

LIMIT

Popop Studios (Centre for the Visual Arts) presents 'Limit' featuring new paintings and prints by Lynn Parotti and Holly Parotti.
Opening Reception Friday, April 11, 2008 - 6.30pm to 9.30pm.

Exhibition dates:
April 10th - 28th, 2008

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Contact:

POPOP STUDIOS
Centre for the Visual Arts
26 Dunmore Avenue
Chippingham
P.O. Box N-7133
Nassau
Bahamas

Gallery hours:
11am to 7pm Tuesday through Saturday

Tel: 1 242 322 7834
Email: info@popopstudios.com

www.popopstudios.com

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