Distance between the eye and the surface is short, it has shrunk. One must see, absorb, process, retain.
Reduction may be a necessary evil of image interpretation.
But best not to compress.
Compression makes tight, taught, and removes dirt – what an aggressive thing to make a body shiny and digestible.
We want to despoil neat edges
and wait for the line to hold her weight, qui? It quivers at the lip
of just enough;
condenses a temporality of the body, my body, pace, poise, mm immediately satisfying.
Singularly these marks are dynamic notations, when repeated there is a rhythm.
This movement once done with ease becomes compulsive, complicated (oh how feminine!)
Repetition has an emerging quality, like the forming of a thought through speech; slow, rolling
backward and forth like the twist of a wrist.
- Catherine Parsonage
Selected exhibitions include: Rhythm Movement Caesura, Lychee One, London, 2015; Bloomberg New Contemporaries, Institute of Contemporary Art, London, and World Museum, Liverpool 2014; Manchester Contemporary, Granada Studios, Manchester, 2014; Alex Mackin Dolin, Catherine Parsonage, Amalia Ulman, Studiolo, Milan; London Art Fair 2014, Fold Gallery; “I DID DID I” ASC Gallery, London; 21st Century & Design RCA, Christie’s, London; Show 2013, Royal College of Art, London; “Honeymoon” The Triangle Space, Chelsea School of Art & Design, London; BP Portrait Award, National Portrait Gallery, London; Saatchi Sensations, Bloomsbury House, London.