Always creating something, Stevie started his working life at 18, erecting scaffolding around London's high-rise buildings. Often he would look out across the capital, taking in the panoramic views available at 700 feet and the way light filtered through the structure of unfinished buildings. Inspired by the unique shapes and colours, he taught himself to paint the world as he saw it.
After five years painting in his spare time, he was on the verge of showing his work for the first time, when some drying artwork caused a near-fatal house fire, from which his family were lucky to escape. The desire to paint ended that night. Thirty years later, Stevie, at the age of fifty-three, is painting again, with his vast memory of shapes and colours finally seeing the light of day.
Stevie's first exhibition was at the London Art Biennale in 2019 and was a great success, his work attracting an award for excellence.
Now, with his powerful style finally unleashed and with further exhibitions booked in other parts of the world, Stevie Parker is firmly established in the art scene and on his way to where he should have been thirty years ago.
Critique by Timothy Warrington.
This emblematic use of stark colour and line provides tangible links to Pop Art; indeed, his utilisation of bold primary colours combined with his unique intellectual perspective creates irrevocable connections with Roy Lichtenstein. These elements also conjure images of Sonia Delaunay, Piet Mondrian and Henri Matisse who possess cognitive similarities with Parker through their individual and uninhibited artistic exploration and the loquacious aspect of the works that continues to tell its complex story to each viewer who gazes upon them.
Parker’s experimental and innovative use of paint represents his fervent freedom of expression, which is comparable with the effervescent energy seen in the oeuvres of Karel Appel and Willem de Kooning. His work also draws strong philosophical connections with Boccioni and Futurism, which demonstrates his implicit desire to communicate with the viewer through a sapient variety of visual influences. Further to this, a sense of Rayonsim is detectable in the scintillating sense of light that Parker creates with his adept execution of his brushwork, that contains visible references to Mikhail Larinov. His powerful and impactful pieces provide a myriad of academic and insightful perspectives to ponder as the viewer is enticed by their enthralling sense of individuality that emits a distinct primordial idea of the artist’s outlook.