Contemporary realist Christopher Parrott (b.1974) offers a subversive take on classical art, a decadent reinterpretation of traditional painting and drawing. Seeing art history as a treasure trove of source material, he appropriates old forms and repurposes them in a contemporary context.
Themes of folly, personal obsession, and disconnection are common in Parrott's overarching framework, which he describes as a postmodern Garden of Earthly Delights. The works are set in an art gallery, where figures are flanked by a fictional body of work. While these background works reinforce traditional master narratives, the action in the gallery space emphasizes the disintegration of those narratives. The figures, many of whom are channeling preexisting archetypes, often play out incompatible storylines.
Critics have said that Parrott "reinvents realism" (Cullum, Atlanta Journal-Constitution) and "his combination of exhibitionism and voyeurism feels like a mirror held up to the relentlessly self-surveying Facebook generation" (Feaster, The Atlantan Magazine). His work has been reviewed and featured in such publications as Art Papers, The Oregonian, Modern Luxury, The Atlanta Journal-Constitution, and New American Paintings, among others.
Parrott has shown throughout the United States in numerous solo and group shows beginning in 1992 and has work in collections in the U.S., Europe, Canada, and Australia. He was educated at Pratt Institute, Pacific Northwest College of Art, Kansas City Art Institute, and the Pennsylvania atelier Barnstone Studios.