Parris Jaru

A Link To the World - Expressionist Figurative Painting of Nude Female Figure

2019

Parris Jaru's A Place to Hide is a 9 x 12 inches oil painting representing surrealist animals. The primary color is a bright yellow and blue. A glittering paint defines the surface of the canvas. Jaru creates colors from plant-based pigments that Jaru collects during his long exploratory trips through India. The imagery is very playful, presenting surrealist animals drawn with the simplification of forms of some faux-naive art and some graffiti and street artworks. NY-born Parris Jaru comes from a Jamaican, Blackfoot Nation, and Arawak Nation background from both his parents. His work is informed by the vivid colors and imagery experienced in his childhood years spent in the coastal town of St. Ann’s Bay, Jamaica. His exploratory journeys in India enriched his work with a sensibility to natural plant-based pigments that he grinds with oils for his paintings. In his Brooklyn studio, Jaru brings all these cultural inspirations together. His entire body of work is informed by an intentional childlike, faux-naïve style, constantly shifting between figurative and abstraction. Even though at times, Jaru has been working on somber and entirely figure-free paintings, most of his work is defined by poignantly colored and playful surrealistic figures. Jaru often draws his figures with a continuous line emerging from a thick impasto of paint made with powders of Sea Algae, Hibiscus, Gymnema Sylvestre, and Turmeric. Related keywords: Caribbean Artist...

Spring Break Morning Study #1 is a 20 x 16-inch acrylic and collage work on canvas. The primary colors are red, yellow, and blue. The image is playful, with a figure in a red suit fl...

Rose Victor (XX) Abstract Seated Nude Woman, Oil on Canvas with Collage Elements, figure in white with one leg up, collaged repeated images of an abstracted figure in hat, signed up...

An original oil on canvas painting from the estate of George North Morris from the artist's "Lovers" series. This piece comes in its original wood frame presentation. George North Morris - painter, writer, teacher Born May 13, 1915 in East Liberty, PA Died Oct. 1, 1996 in Hudson, NY Studio locations over the years: varied from Hyannis (MA), Providence (RI), Oglethorp (GA), Montpelier (VT), Yonkers & Westchester Co. (NY) to the later years in Germantown (NY). Subject matter consisted mainly of seascapes and landscapes but in the 60's and 70's he experienced his abstract era. The later years, in fact most of his life was spent in New England and N.Y. state. Most of his more valuable paintings where along the Hudson River and Westchester County. His most frequent methods were oils and water colors, and in the 1940' his artistic expression was through the use of clay. Most of his pottery was made from local Cape Cod (Barnstable) clay which he and his family dug, washed and prepared. He wrote a part of the foreward, called "The Tradition", for a book "A Century and a Half of American Art 1825-1975". Published in 1975 by the "National Academy of Design". He was also an art critic and reporter for the Worcester Telegram and the Provincetown New Beacon. He was a person that felt time was by far better spent talking about and hearing ideas and thoughts. The following are some of his. George Morris's life was that of art and art critic as well as educator. "It was the two summers, 1938 and 1939" recalled Morris, "that I really learned how to paint". Though much of his work showed a strong Edward Hopper influence, at the same time it took many roads. It was, over the years, much too varied to categorize. He started with collage, moved to abstraction, and then to a period during the late 1960s and '70s when he completed what he called his "Lovers Series" - erotic paintings filled with large orchestrated flat color - that show him moving away from abstraction. Upon becoming bored with the concept of abstract painting, he looked for new challenges in pastels, acrylics and water colors, painting once again what he called "the world as it is recognizable by others". George firmly believed that all the best artists are good hucksters, too. Solo exhibitions as a painter were as follows: Columbia-Greene Community College - 1985 Barrett House - 1985 Smith Gallery - 1980, '81, '82 Swansborough Gallery, Wellfleet - 1983 Hopper House, Nyack, NY - 1981 Hudson River Museum, Yonkers Shepherd Gallery...