Selma Parlour’s oil paintings appear as though they’re drawn or printed. The artist is known for her diagrammatic stage space that curtails fictive distance as it represents it; and for her bands of colour that bring delicacy and illusion to the figuring of the frame.
For Cure3 she extends her resolutely two-dimensional practice into the third dimension, with her sculpture, Untitled. “The ideological framing device I start with is our familiar flat frontal rectangle that signifies and enables a representation. Except now perceptual transparency is traded for literal transparency and objectness. In it: another box, high art to low stuff, painting and its paraphernalia treated equally.”