Richelew Parker
Bio Synopsis
Early Influences
Comes from a midwestern background of family craftsmen, artists and
muralists, as well as early study of design and architecture in secondary
school, (with awards while there.) Additionally, the kinetic and aesthetic
visual surroundings of nature were always accessible and a definite
influence during early years in the state of Oklahoma. While in the
Air Force, military duties included graphic and engineering drawings.
Post Air Force (six years), studies focused on the study of architecture
and design obtained an associates degree in architecture at Pasadena
State College in Pasadena, California and a bachelor of architecture
degree from California State Polytechnic University (Cal Poly SLO) in
San Luis Obispo, California, in 1975. Extra studies while at Cal Poly
included photography, delineation and sculpting.
Upon moving to Sacramento, practiced architecture several years for
both private architects and the State of California. Art and design
studies continued at Sacramento City College for two years with Fred
Dalkey, which included figure drawing and oil painting.
Vision of art and design involves viewing it as inherently being influenced
by the basic graphic elements of design in nature, including 1. symmetry,
2. proportion, 3. balance, 4. rhythm and 5. continuity. Albeit nature
being kinetic, these influences are there in design and art whether
overt or subliminal with the understanding that nature of course is
constantly changing or kinetic.
With that understanding of natures inherent kinesthetic character, the
objective expression here is to integrate varying drawing mediums, and
dynamic/kinetic creative experimentation.
CURRENT VISION STATEMENT
RE: SEPTEMBER 7, 2010:
“THE STUDY OF THE METAMORPHASIS OF COLOR”
THIS INCLUDES THE EXPLORATION OF THE FOLLOWING :
1. A STUDY OF COLOR TRANSITIONS AND THE IMPACT THAT THEY HAVE ON GRAPHICS
AND IMAGERY.
2. AN OBSERVATION OF WHAT HAPPENS TO A DESIGN WHEN COLOR MODIFICATIONS
ARE INTRODUCED .
3. IF COLORS ARE VARIABLE , AND THE IMAGE IS CONSTANT, WHAT HAPPENS
TO THE MOOD OF THE VIEWER AS THE COLOR CHANGES?
4. WHAT HAPPENS WHEN THERE IS SPLASHES OF COLORS IN UNEXPECTED LOCATIONS?
5. WHAT HAPPENS WHEN THERE IS A PUSHING OF THE USE OF COLOR TO ITS
LIMITS?
6. WHAT HAPPENS WHEN THE ESTABLISHED RULES OF COLOR COMPOSITION AND
PRESENTATION ARE BROKEN?
WHAT HAPPENS WHEN UNIQUE ADJACENCEIES AND/OR JUXTAPOSITONS OF COLORS
ARE INTRODUCED?
7. PLAYFUL INTRODUCTION OF VARIABLE CONTRASTS OF COLOR , AND COLOR
HIGHLIGHTS , AND COLOR SHADOWS.
8. WHAT HAPPENS WITH COLOR IMMERSIONS AND COLOR GRADATIONS?
9. RE: COLOR: WHAT HAPPENS WHEN ; TO ROUGHLY QUOTE THE ARTIST ESCHER
“ THERE IS THE INTRODUCTION OF THE ABSURD TO ACHIEVE THE IMPOSSIBLE”?
10. FINALLY WHAT HAPPENS WHEN THERE IS THE USE OF COLOR FOR JUST THE
SHEAR JOY AND FUN OF IT?
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