Art Miami 2023

Chelsea Kinch is an abstract painter from Rhode Island based in Maui, Hawaii. Her paintings explore themes of disposability and ephemerality, especially as they relate to being a woman. For her, the process of painting is more than just that - it is an act of surrender, a catharsis, and a journey into herself. Kinch’s solo shows include Clean Sweep, 2020, Graceful Anger, 2021, and Moving In, 2022. Her work was most recently selected for the group show Artists of Hawai’i 2023, the state’s longest running juried exhibition.

Miranda Boulton is a contemporary British painter who lives and works in Cambridge, UK. She studied Art History at Sheffield Hallam University and at Turps Banana Art School in London. In 2021 she won the Jacksons Painting Prize. Notable exhibitions include: Notable exhibitions include: Double Time (two-person exhibition) at Arthouse1, 2019, Royal Academy Summer Exhibition 2016 & 2019, Creekside Open 2019, ING Discerning Eye 2021, the Young Masters Autumn Exhibition 2022, and Staged by Nature at Glyndebourne 2023.

Miranda states: "My paintings are about the passing of time, they are Memento Mori, reminding us of our mortality and the transience of life. I paint flowers, alive, beautiful, decaying, dying, haunting, life affirming, poignant, reassuring. Always at the height of their beauty they fade away. They cover the monumental and the everyday. My grandfather was an artist, he died before I was born, my grandmother kept his studio the same as the day he died. As a child I use to sneak into his mysterious studio and imagine talking with him about his work. These conversations made me want to paint, to recapture something of him and make it present again. For me painting is an ongoing conversation between the past and the present. I am fascinated by Flower Paintings from Art History, having spent a great deal of time looking at paintings by Morandi, Winifred Nicholson, Manet, Rachel Ruysch and Mary Moser to name a few. I absorb their work and follow their brushstrokes as if listening in on a conversation. Memories of their paintings are used as the starting point for my process. I am searching for a space where I have touched on the feel and presence of a painting from the past. There is an essence of the original, an acknowledgement of a time, place and history all in the mix.

Boulton describes her paintings are Nature Morte of flora. Her work is a response to historical references within this genre. Art historical images are translated through memory into a contemporary pictorial language, linked through expressive colour, gesture and form. Her interest in the passing of time is central to Boulton’s work. Flowers remind us of the fleeting, transient nature of life. She thinks of painting as a time-based medium, layers of paint are like timelines on a tree, each holding memories of brush marks and integral to the finished piece. Each painting is an ongoing conversation between past and present, an exploration of new forms from old imagery and narratives.

Studied at Chelsea College of Art & Design and the Royal College of Art in London, with a term at Atelier National d’Art in Paris. She now teaches in various institutions, and has her own studio weaving workshops. In 2020, Margo was the recipient of the Craft Council’s Collect Open Award for her large scale textiles installation Vexillum at Somerset House, and, in 2021, the bi-annual Turner Medal for ‘Britain’s Greatest Colourist’. She also gave the Turner Lecture, reflecting on her practice. 2022 saw her showing at multiple applied arts and craft fairs including Collect, London Craft Week, and London Art Fair.

Selby is an artist and designer working with colour and geometric form in textiles. She makes handwoven artworks, and oversees the design work of the Margo Selby Studio for mill production and commercial textiles applications – her tenet being ‘Art Into Industry’ – an approach to making art that is akin to that of the ‘Old Masters’ and mistresses, with their expanded studios and public commissions.

Selby uses thread to create abstract geometric artworks that explore repetition and transition, symmetry and asymmetry, the dynamic and the stable. She is interested in the relationship between the body and the machine, hand and industry, craft and technology. The loom, and the disciplined nature of weaving as a practice, provides boundaries and constraints which can be tested. The orderly nature of the craft of weaving is reflected in the developing designs of the artworks. She is satisfied by rhythmic and uniform repetition – where each element of a composition is changed in a methodical progression.

2020 Young Masters Guest Artist Alastair Gordon is a London based artist and tutor and a course leader for the Graduate Residency Scheme at Leith School of Art, Edinburgh. Last year, Alastair was artist in residency for City and Guilds of London Art School followed by a parallel residency with PADA Studios in Lisbon. He has had recent solo exhibitions at Aleph Contemporary, London (2020) and Ahmanson Gallery, Los Angeles (2017). Works feature in various international collections and public museums. He was the inaugural winner of the Shoesmiths painting prize and recently co-recipient of the Dentons Art Prize. His third book, Why Art Matters was published by Inter Varsity Press last year.

Begun in the landscape yet completed in the studio, these new works by Alastair Gordon mark a fresh trajectory for the artist. Gordon is best known for highly illusionistic paintings (rooted in the quodlibet tradition) but here he combines his heightened sense of realism with historical notions of intuitive wildness and British wilderness painting. Gordon makes paintings about paintings; works that oscillate between artifact and artifice. We are presented with landscapes as still lives and sketches as completed works. Certain questions emerge about authenticity, the painting process and how we consider notions of landscape today. The veracity of the object is constantly in doubt yet the wild is ever calling.

In making these new works Gordon travelled to the outer reaches of the British Isles, undertaking a painting pilgrimage from the heights of the Lake District, depths of Caithness peat flows and furthest reaches of the Outer Hebrides. Sitting atop mountain peaks and sinking into peat bogs each work begins in the landscape. As Gordon states, ‘I don’t seek a view but a sense of place’. From here the paintings are developed in the studio to appear as drawing boards and sketchbook work. Oscillating between hyperrealism and intuitive gesture, they both tame and subsume to the wilderness itself.

America has Lichtenstein, we have Azzopardi!’ - Estelle Lovatt FRSA

Deborah Azzopardi acquired her worldwide fame for the joyous Pop Art images she has created over the past 39 years. Her unique and feminine take on contemporary art is best described by the esteemed art critic Estelle Lovatt: ‘America has Lichtenstein, we have Azzopardi!’ Lovatt goes on to comment: “Sometimes you just want to curl up under a blanket. With a good book. A piece of chocolate. A man. This is what Deborah Azzopardi’s pictures make me feel like doing. They are me. They remind me of the time I had a red convertible sports car. I had two, actually. And yes, they are you, too. You immediately, automatically, engage with the narrative of Azzopardi’s conversational visual humour. Laughter is the best aphrodisiac, as you know. ... There’s plenty of art historical references from... Manet’s suggestive ‘Olympia’; Boucher’s thought-provoking... ‘Louise O’Murphy’ and Fragonard’s frivolous, knickerless, ‘The Swing’.... Unique in approach, you easily recognise an Azzopardi picture. ... Working simple graphics and toned shading (for depth), the Pop Art line that Azzopardi sketches is different to Lichtenstein’s. Hers is more curvaceous. Feminine.”

Lauded by Annabel Sampson, Deputy Editor of Tatler as “the next David Hockney” painter Andy Burgess, who hails from London but lives in Arizona, continues to expand upon his fascination with contemporary architecture. A new series of paintings on panel and canvas colourfully re-imagines iconic modernist and contemporary houses. Burgess selects the subjects for his paintings with the discernment of the portrait painter. Buildings are chosen for their clean lines, bold geometric design, and dynamic forms. Burgess approaches his subjects with a fresh eye, simplifying and abstracting forms even further and inventing, somewhat irreverently, new colour schemes that expand the modernist lexicon beyond the minimalist white palette and rigid use of primary colours. Real places are sometimes re-invented, the architecture and design altered and modified, with new furniture and landscaping and a theatrical lighting that invests the painted scene with a dream-like quality and a peaceful and seductive allure.

Burgess explores in depth the genesis of modern architecture in Europe and the US and its relationship to modern art, avant-garde design, and abstract painting. Burgess explains his fascination with modernist architecture thusly:

‘Despite the huge impact of early modern architecture, the innovative and subtle minimalist buildings that I am researching, with their concrete and steel frames, flat roofs, and glass walls, never became the dominant mode of twentieth century building. We have continued to build the vast majority of houses in a traditional and conservative idiom, so that these great examples of modern architecture, designed by the likes of Gropius, Loos and Breuer to name but a few, are still shocking and surprising today in their boldness and modernity, almost a hundred years after they were built.’

Alongside the large-scale paintings, Burgess creates collages which reflect his love of vintage graphics, particularly those from the 1930s–50s, a “golden age” in American graphic design and advertising. Burgess has been collecting vintage American ephemera for many years; this ephemera is then unapologetically deconstructed, cut up into tiny pieces and reconstructed into visual and verbal poems, dazzling multi-coloured pop art pieces, and constructed cityscapes.

Burgess has completed many important commissions for public and private institutions including Crossrail (London’s largest ever engineering project), Cunard, APL shipping, Mandarin Oriental Hotels, a new medical centre in San Jose, California and most recently, Neonatal Intensive Care Unit (NICU) at Chelsea and Westminster Hospital in London.

In 2021 Andy Burgess started creating a series of site-specific artworks for the Neonatal Intensive Care Unit (NICU) at Chelsea and Westminster Hospital in London. The project, initiated by CW+ – the official charity of the Chelsea and Westminster Hospital NHS Foundation Trust – and facilitated by Cynthia Corbett Gallery, which represents Burgess internationally, aims to improve and enhance the NICU environment for patients, relatives and staff.

Working together with the NICU team, Burgess was reminiscing on the hospital’s neighbourhoods and its iconic views, sights and buildings in collaboration with hospital staff. Known for his unique, abstract and colourful style, Andy has transformed selected London scenes into incredible artworks to create a warm and welcoming environment for both parents and staff to enjoy. The display, installed on the 16th June 2022, includes a panorama of London, an image of Albert Bridge and another of a London Underground station. Additionally, Andy produced two smaller scale abstract pieces developed from the colour palettes of his larger works, which were gifted as part of the commission. CW+ also acquired two existing works by Andy for the unit through Cynthia Corbett Gallery.

Burgess’s collectors include the Booker prize-winning author Kazuo Ishiguro, actor and writer Emma Thompson, the Tisch family in New York, Beth De Woody, Board Member of The Whitney Museum and Richard and Ellen Sandor in Chicago, who have one of the top 100 art collections in America.

In March 2023, Burgess publicated of a new limited edition book of abstract ink on paper collages called Tiger’s Eye in conjunction with an exhibition at Laughlin Mercantile in Tucson, Arizona and the release of four luxurious silk scarf designs based on the collages.

Andy Burgess’s latest work combines two of his greatest artistic passions, mid-century and modernist architecture, and collage. In this new series of highly intricate pieces, Burgess has used hand painted paper to construct renditions of his favorite modern architecture. Replacing acrylic paint with gorgeous permanent inks he has introduced another level of textural interest. The ink adds a beautiful translucency and wash-like textures to the surface of the image…. making the finished work somewhat tapestry and mosaic like. The pleasure of these works lies in the complex shapes, the analogue quality of the fabrication and the sparkling crystalline colors. Those familiar with his work will recognize some of the iconic subject matter such as Frank Lloyd Wright’s wonderful Guggenheim Museum and famous Fallingwater residence as well as Los Angeles classics such as The Stahl House and other desert modern masterpieces. But there is an eclectic range of architectural subjects that spans decades and continents in a quest to do justice to the architecture of modern times!

Cristina Schek is the photosensitive kind. She thinks in pictures; her imagination is always in focus. Unconventional in her approach, she sees the camera as a mere tool, allowing her imagination to take centre stage. She enjoys the freedom of layering and manipulating her photographs into creative montages, trusting her instinct for matching the raw material with subconscious musings. Often whimsical and a touch romantic, her photographs are given subtle alterations in a digital process that often takes months, resulting in carefully constructed compositions, which reveal the influence of the great Surrealists and Old Masters.

Esteemed art critic Estelle Lovatt, FRSA, notes the departure from traditional representations in Cristina's work: “Away from the worn-out out-of-date academic portrait of the female muse, Cristina Schek’s attention-grabbing images are inspired by literature and history. I marvel at her unique quirky portraits of modern life, in interiors brimming with warm comfy chintz and cosy furniture. But the real clout and muscle comes from the lone woman masked, in her flowing gown, inspiring powerful messages of caution for women today. Different to a man’s representation of the female, Schek inspires us to be the victor not the victim. As a woman, though the lens of her eye, she created a new, unique, visual language influencing and motivating us to be as progressive and visionary as we are. To be assertive, bold, self-assured powerful, and confident. To develop and enlarge our value(s). To think, feminist weight solid enough, in images not just of her, but of you and me, in Schek’s sumptuous, surrealistic, delightful imaginings.”

 

'Diving Upwards': "Over the long term, the future is decided by optimists. To be an optimist you don’t have to ignore the multitude of problems that arise, you just have to 'Swim Upwards' and imagine how much your ability to solve problems improves." Cristina Schek

"The Woman Who Fell To Earth' is part of an ongoing series of self-portraits about Freedom. Freedom in its different guises. The freedom to step beyond the expectation and limitations that are imposed upon by yourself and others and move towards the things that hold meaning.

There are only two kinds of freedom in the world: the freedom of young age and the freedom of mature age.

We're often led to believe that aging is somehow a betrayal of our idealistic younger self. But sometimes it may be the other way around. Perhaps the younger self finds it difficult to inhabit its true potential because it has no idea of what that potential is. In many ways, it exists as an unformed thing, constantly evading its own grasp, and frantically trying to build its sense of itself, a coherent sense of identity.

But then, time and the relentless flow of life come along and shatter our carefully constructed sense of self into a million pieces. And then comes the reassembled self, the self you have to put back together - no longer burdened by discovering what you are. You are free to be whatever you want to be, unimpeded by the incessant needs of others. Gradually, you grow into the form of your humanity, forging our own distinct character and evolving into a complete individual. Someone who has become a part of things, not someone separated from, or at odds with the world. You age. You age, embracing the fullness of freedom, the freedom that allows all freedoms to exist." Cristina Schek

Press: 'Fern Girl' featured in Widewalls Magazine. | Cristina Schek Winner of W4 Fourth Plinth Unveiled by Dame Siân Phillips

In a contemporary art world that condemns beauty as camouflage for conceptual shallowness, championing high aesthetics is nothing short of rebellion. Dutch photographer Isabelle Van Zeijl takes female beauty ideals from the past, and sabotages them in the context of today. As a women she experiences prejudices against women; misogyny in numerous ways including sex discrimination, belittling/violence against women and sexual objectification. Van Zeijl aestheticises these prejudices in her work to visually discuss this troubling dichotomy, presenting a new way of seeing female beauty. An oppressive idealisation of beauty is tackled in her work through unique female character and emotion.

Van Zeijl is invested in her images. By using subjects that intrigue and evoke emotion, she reinvents herself over and over and has created a body of work to illustrate these autobiographical narratives. Her work takes from all she experiences in life - she is both model, creator, object and subject. Going beyond the realm of individual expression, so common in the genre of self-portraiture, she strives to be both universal and timeless.

Isabelle Van Zeijl, born and based in the Netherlands is an internationally acclaimed Fine Art Photographer. She was nominated for the Prix De La Photographie Paris, The Fine Art Photography Awards and was one of the winners of The Young Masters 2017 Emerging Woman Art Prize, London. Her work is held in prominent private & public collections in the USA, Europe, UK, Australia and Asia.

Elaine Woo MacGregor is a Scottish-born Chinese artist trained in the Glasgow School of Art. She graduated with a Bachelors Degree with honours, acquired a studio and began working as a full-time artist. MacGregor began to be noticed as a serious and thoughtful painter and her first solo exhibition was 'Portraits' in Glasgow. She has exhibited in galleries in Edinburgh, Glasgow, London, Cambridge and abroad. One of her works - 'Hotel No.4' - is in the public galleries collection, the Atkinson Art Gallery, Southport. MacGregor's work has been shown in the U.K, U.S.A, Australia and Thailand and critically recognised by virtue of the Dewar Arts Award, the James Torrance Memorial Award, the Hope Scott Trust Award and the Cross Trust Fund. In 2022, she was a finalist in the Jackson's Painting Prize, received Art Paisley Prize for outstanding work, and Velvet Easel Award from Paisley Art Institute.

Recent exhibitions include her solo exhibition Maman et Muses in Edinburgh, Scotland, Art on a Postcard in Fitzrovia Gallery, London, Art Miami, USA, Young Masters, London and The British Art Fair, Saatchi Gallery, London, U.K. She has been selected for Platform 2023 - London Art Fair in 'Reframing the Muse', exhibition curated by Ruth Millington, showing with The Cynthia Corbett Gallery. Artist statement:

Elaine Woo MacGregor's work encapsulates the world seen through the eyes of a cross cultural artist. She uses eclectic mark making and imagery to create atmospheric and theatrical scenes. Although her painted stories are often fictitious, elements of the picture are based on real people, places and things.

‘Sometimes I doubt my memory and wonder whether I will only be able to remember what never really happened’.

Carlos Ruiz Zafón (Marina, 1999)

Elaine states: "There’s beauty in the process of memory lost and found, in the journey of rediscovery. I feel it brings clarity as well as traces of ambiguity in versions of the truth and half-truths. I paint stories and memories of people based on my personal experiences and experiences of others found in books, films and photography.

The paintings created this year have an intensity of colour, light and space. There’s a homage to 19th and 20thC French painters, feelings of Côte d'Azur, dance and theatre. Imbued with meanings and sometimes characters based on books about Peggy Guggenheim, Dora Maar, the love life of Marthe and Pierre Bonnard, and Audrey Hepburn in a film set. They are all my collective painterly visions and alternative reality where the viewer needs to peer through layers of paint, dapples of colour and a smudge of a mark.”

“Dreams have no titles. ”– Max Ernst

British Amy Hughes’s practice is both fuelled by and symbolic of the highly prestigious Porcelain wares produced at the Royal Sèvres Factory in the late 17th and 18th centuries. Hughes’ works reference and pay homage to the originals, but are created with a freer approach, giving them a new lease of life.

After Alhambra pieces take inspiration from the large lustre vases produced during the Nasrid Dynasty (the last Muslim Dynasty in the Iberian peninsula, ruling Granada) in the 14th and 15th centuries which became romantically known as 'Alhambra Vases', and of which only 8 remain in semi-intact existence today. The skill, the legend, the intrigue surrounding these vases captivated and fuelled my fascination to explore a contemporary response to the stunning relics. The forms, the two wing-like handles, the horizontal decorations all reference the originals, the rawness in composition and materiality nodding to their faded beauty. Drawing studies of their intricate surface pattern have been enlarged and explored on the coil and slab built forms creating exciting pattern and shape with a colourful and lively approach.

The After Alhambra and After Amphora pieces may take historical inspiration from ceramic artefacts of the Nasrid dynasty and Ancient Greece, but their modern day interpretation and reworking can be said to be directly influenced by contemporary culture(s), including fashion and print, explored through the bold use and application of colour, surface treatment and pattern across a form. They playfully explore the relationship between clay and textiles. The use of texture creates almost fabric like aesthetics on these ceramics, through layers of slip application creating depth akin to a knit or heavy weave, with more exposed or 'faded' areas gauze-like or requiring a darn. Areas of the transparent glaze application vs those unglazed, the smooth vs the rough, a silk vs heavy cotton, playing with light and movement. The wing-like handles and appendages are kindred to pattern cutting but with a rawness of a torn unfinished edge like a fray or a rip.

Amy Hughes works and exhibits internationally, including high profile Collect art fair with the Crafts Council with Cynthia Corbett Gallery and a spell as Artist in Residence at Konstfack School, Stockholm, Sweden. She was nominated to represent the UK in ‘New Talent’ at the European Ceramic Context 2014 as well as being shortlisted for the inaugural Young Masters Maylis Grand Ceramics Prize 2014 for artists who show an exceptional command of ceramics, alongside an awareness of the heritage of ceramic craft.

In 2015, Hughes was chosen as the first Ceramics and Industry Artist in Residence at the Victoria & Albert Museum working in collaboration with 1882Ltd, as well as being selected as one of eleven artists for AWARD at the British Ceramics Biennial ‘presenting new works exemplifying the energy and vitality of the best of British contemporary ceramics practice.’
In 2018 her first solo show Garniture at Croome Court (part of the National Trust) was funded by Arts Council England – she had the opportunity of working with Croome Court's extensive collections. Most recently she was selected as one of 5 commissioned Artists to work with at The Leach Pottery St Ives on the Leach 100, which is part of centenary celebrations looking at the past, the present and the future of studio pottery. In 2021 she participated in For the Love of the Master: 25 artists fascinated by Piranesi – a group exhibition celebrating the legacy of this versatile Roman artist in the 21st century. This homage to Piranesi was held in Dublin Castle & the Casino at Marino, Dublin. In 2023 Amy was awarded Highly Commended for the Brookfield Properties Craft Award.

Crystal Latimer was born in Hollywood, California, and grew up in Ellwood City, Pennsylvania. In 2010, Crystal completed her BFA Slippery Rock University and received an MA and MFA from Indiana University of Pennsylvania in 2013 and 2016, respectively. After graduating, Crystal taught several courses at Penn State University and Indiana University and has lectured at Slippery Rock University and Carlow University.

Crystal's work has been shown extensively in both solo and group exhibitions, including at Collect Art Fair, Art Miami, the Pittsburgh International Airport, Pittsburgh Cultural Trust, Pittsburgh Center for the Arts, Chautauqua Institution, The Mine Factory, George Washington University, and Union Hall among others. She has shown her work internationally in Hong Kong and London, and participated in a residency at the Joaquin Chaverri Fabrica de Carretas in Sarchi, Costa Rica. Crystal's work has been featured in Create!, Pikchur, Local Arts PGH, Art Maze, Ruminate, and Fresh Paint Magazines. Her work is included in both private and public collections nationally and internationally; including Indiana State University of Pennsylvania, PNC Corporate, the Benter Foundation, and Wyndham Tryp Hotel.

Matt Smith is a multi award-winning artist based in Ireland and England. Acclaimed solo exhibitions include Losing Venus at the Pitt Rivers Museum, Flux: Parian Unpacked at the Fitzwilliam Museum, Who Owns History at Hove Museum and Queering the Museum at Birmingham Museum and Art Gallery. In 2015/16 he was artist in residence at the Victoria and Albert Museum in London. He holds a PhD from the University of Brighton and was Professor at Konstfack University, Stockholm.

In 2020 he was awarded the Brookfield Prize at Collect and the Contemporary Art Society acquired a body of his work for Brighton Museum and Art Gallery. His work is also held in the collections of the Victoria and Albert Museum, the Walker Art Gallery, Birmingham Museum and Art Gallery, National Museum of Scotland, National Museum of Northern Ireland and the Crafts Council collection.

The work is created from a found, vintage, needlepoint which is unpicked and restitched by the artist. Based on paintings by known male artists, the needlepoints were originally produced for amateur, anonymous sewers to stitch. Idealised figures are presented in bucolic settings, their faces replaced by the artist with neutral repeating patterns which disturb the working of the image. By interrupting without substituting a definitive alternative narrative, the work leaves the reinterpretation open for the viewer, questioning the heterosexual constraints of such imagery and prompting a re-consideration of the sitters' skin colour and identity and questioning the viewer’s complacent acceptance of such imagery. Works from the series are held by the V&A, the Crafts Council, Brighton Museum and the National Museum of Northern Ireland.

Developed while artist in residence at the Victoria and Albert Museum, A 31 Note Lovesong uses molds from the former Spode ceramics factory in Stoke on Trent and casts from objects in the V&A’s archives. Cast in black parian clay, the works create a portrait of the workers who made the molds, and comment on the silence in the former factory. The juxtaposition of composite objects within the work reflects the arbitrary grouping that occur within museum stores. The work was selected for the British Ceramics Biennial and has been shown at London Design Festival and Gustavsberg Konsthall Stockholm.

Fabiano Parisi began his career as a photographer following a degree in Psychology, coming to photography through a project photographing derelict asylums, which sparked his interest in the abandoned buildings which are the subject of his art practice today. He has two ongoing series: The Empire of Light and Il Mondo Che Non Vedo (The World I Do Not See). The latter title is taken from a collection of poems by Fernando Pessoa, a hint at the poetic qualities of Parisi’s work. What is so striking about Parisi’s work is his use of light, his relationship not just to history but to the theme of the ruin in Art History, and the composition and surface of his work. The power of Parisi’s work lies in the strength and command of his image-making, never straying from a strictly symmetrical approach, which allows the viewer to assume his viewpoint within the building, the wide-angle lens giving a sense of depth and breadth, without compromising on detail.

Parisi uses only natural light, shooting early in the morning. The colours and chiaroscuro are at their best at this time of day, and are left untouched by digital image manipulation software. Parisi’s photographs have an honesty and integrity that is part of what makes them so inviting. The artist often selects buildings with frescoed walls, which create an illusion of a painterly surface in his photographs and a textural sensibility that belies the photograph’s flat surface. His method highlights the patina of these forgotten places. The artist prints his work himself onto carefully chosen papers that enhance and maximise his colours and tones. Parisi has a strong relationship to Art History; the subject of the ruin was prevalent in the 18th and 19th Centuries, and interest is still strong today as evidenced by Tate Britain’s 2014 exhibition ‘Ruin Lust’. From painters such as Piranesi to Turner to Constable, Parisi is part of an important genre in art.

Parisi participated in the 54th Venice Biennale, Italian Pavilion and in Fotografia Festival Internazionale di Roma in 2012 at the Macro Museum. In 2010 he was the winner of the Celeste Prize International for photography in New York; in 2012 he was shortlist for the Arte Laguna Prize, Venice where he was award a special Prize and in 2012 & 2014 he was shortlisted & announced finalist for the Young Masters Art Prize (a not-for-profit initiative presented by The Cynthia Corbett Gallery, London).