Conversations with Tom Parish would reveal how much fascination and respect he has for Giorgio de Chirico and his works. As a matter of fact, Parish considers de Chirico as somebody he can totally relate with. And just like the great surrealist artist, Parish’s also recollect buildings with arcade-featuring facades.
And as the train passes by the window, Tom Parish suddenly becomes the artist he grew fond with, and the audience looking at Tom Parish’s artwork would suddenly hear blues music playing on the paintings’ background. They can hear lonely and long blues music as the train moves.
The more Parish talks, the more he is drawn to Chiriscesque themes – just like the buildings with arcades as parts of its facades. These dark and small undefined spaces on the arches background beautifully and captivatingly stand out. This is surely not just to buy office artwork. This is art in its truest and most realistic form. The spaces meant for the unknown rises along with such titles as Disquieting Muses and Enigma of the Afternoon.
To further Tom Parish’s point of view, he also said that Piet Mondrian was capable of wringing too many art forms in a dry cloth.
How Did Parish Discover Venice?
Most of Tom Parish’s artworks in his past and recent exhibitions can give his audience pieces of evidence showing his Venice discovery. This is very notable and obvious in his painting entitles “Notte Serena.” Here, the buildings, especially the one on the right, have been veiled in deep darkness, with only a few windows bringing in very little light. And since it brought in very little light, it also only clarified as much. By the distance, the building’s façade is slightly revealed, giving the audience even more mystified than they should be.
In a fascinating turn of events, the classical form symbol that Andrea Palladio used with much eloquence and precision in building these Venetian churches is even made more like an alien asymmetrically supported by two columns. The image was made gloomier and ironically, notte can be interpreted as anything else other than serene.
The moment the viewer reflects deeply on the title, Venice’s nickname “La Serenissima” sounds like being engulfed and drowned in waters while in the waiting. Waters is the most fascinating formal aspects of Parish’s paintings. He could shift the audience’s attention through the use of waters only. This is proof of Tom Parish’s brilliant technical command.
If you look at Giudecca, you will see that he was able to enhance its effects by striking a strong contrast between the water’s furious activity and the façade’s stillness. The various moods of mystery and excitement were easily and seamlessly conveyed through the use of the water. The water’s flow, rest, and action while bending on the canal’s direction and towards the destination still remain a mystery. The shallow puddles lying around, just like the magnificent bodies of water that covered Osteria’s floor is somewhat reminiscent of Venice’s vernacular and noisy street side shops.
All these amazing and profound meanings you can get from Tom Parish’s artworks are more than just for decors or to buy office artwork. These are magnificent art pieces that presented the mysterious, sad, happy, and exciting parts of Venetian landscapes.