Aaron Parazette
at the Dallas Contemporary through December 4th
chit chats with Aaron Parazette + John Pomara - Oct 25 // 6pm

Now that the last show of glamour shots has faded away, the Dallas Contemporary
is showing hard-edge painting master Aaron Parazette. From now until December
4th, we will be treated to his most recent paintings and a large-scale, site-specific
wall painting. Houston-based artist Parazette is no stranger to the Dallas area. He
has shown his work at Dunn and Brown (now Talley Dunn Gallery) for years.
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I have always enjoyed the craftsmanship Parazette is able to achieve with his
hard-edge style. The work looks so flawless that you would swear a machine
produced the images. There is something quite beautiful about that high
graphic look created by the human hand. It goes without saying that I don’t
think the work is painted freehand -- he uses some tools to make these incredibly
crisp lines.  Since I don't want to get into a very long diatribe on what constitutes
a work done by the human hand, I will get back to Parazette.
previous articles
Todd Camplin
Aaron Parazette, Color Key #24, acrylic on linen, 2011
Aaron Parazette, Color Key #21, acrylic on linen, 2011

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Being a text artist myself, I find Parazette's word paintings particularly interesting.  
Apparently he uses a formula to create these paintings. It would seem that picking
surfer lingo as his subject matter, which seems out of place for a Houstonian
to use, is his dispassionate way of exposing most of us into an unfamiliar
sub-culture. Parazette's letters are shuffled on the canvas, which
forces us to slowly decipher the message on canvas. He also outlines
the letters with a thin line of color, which helps to highlight the words. The
letters  also overlap and weave in and out, which acts to break up the work
into small abstract color fields. The simple shapes, letters, and words come
together  to form a complex composition.
Aaron Parazette, Color Key , acrylic on linen, 2011
But words are not the story of this show; the Dallas Contemporary is exhibiting
his expertly executes hard-edge abstractions. Though not to the extent of
someone like Bridget Riley’s Op art, Parazette's abstract paintings do have
movement, but I don’t think he is aiming for precise illusionistic effects.
Instead, you see a nice balance of colors moving in an aggressive pattern.
Parazette’s use of circle and shaped canvases breaks the traditional
rectangle canvas and helps the pattern contrast with the sharp hard-
edged angles of the painting.
Aaron Parazette, Color Key #23, acrylic on linen, 2011