A Bunch of Flowers

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A Bunch of Flowers

A Bunch of Flowers
showcased three distinct groups of works: the first of many plastic assemblage Jam Session sculptures; three large bill-board scale Classic Shazzy car/girl collages and several large abstract collage works.

Catalogue text by Chris McAuliffe:

Sculpture used to be about removing the bits that weren’t sculpture. The everyday plastic items that Paramor gathers from Op shops and dumpsters don’t have sculptures hidden within them. They become sculptures when colours jar or harmonise, when internal volume and external projection are mated effectively, when humble utility gives way to structure and monument.
Louise Paramor shows that you can put a square peg into a round hole. But it’s not simply a matter of brute force. Mashing found objects together at random doesn’t make for sculpture. It’s more a case of finding objects that don’t know that they’re sculptures and convincing them to be more ambitious.

Only then do the subtle echoes of earlier aesthetic debates become audible. Are these assemblages art because they render the functional non-functional? As Malevich suggested, a vase becomes art when you stop putting flowers in it. Or are they art because they so cleverly sidestep the scholastic debates about colour and sculpture? Minimalists and formalists alike fretted on the problem of colour applied to sculpture. Paramor simply uses plastics whose colour is embedded within the very material during the manufacturing process.

Intriguing reflections for an art historian, should he find a quiet moment. But in the studio, it’s clear that what makes these assemblages art is the element of improvisation and play that propels them. Making involves matching disparate items through a process of trial and error, of playing with the pieces until they speak effectively with each other. Then they achieve a kind of classical disinterestedness; they are purposefully without purpose.

Paramor’s large painted paper collages, which enlarge images from calendars, show a different kind of play. The process of translating an image into blocks of colour, then pasting together a simplified, paint-by-numbers version of it, reminds me of school craft projects and TV art programs for kids. The collages aren’t exercises in nostalgia, however. While the psychedelic Photoshop flourishes of the originals show how infinitely manipulable an image is, Paramor’s hand-made reiterations insist on the fundamental formal structure of the image. Like her three-dimensional constructions, these paper assemblages are a plea for architecture as a primary characteristic of the art work.

A Bunch of Flowers was also shown at Perth Institute of Contemporary Art, Western Australia in 2006.

The Classic Shazzy collages were created in Rotterdam, The Netherlands in 2005, during a 3-month residency at Stichting Duende Aktiviteiten.

The solo exhibition entitled Classic Shazzy also took place at Duende in 2005.

Classic Shazzy 2, was included in the group show Made in Rotterdam, Cokkie Snoei Gallery, Rotterdam in 2005. Classic Shazzy 1, was the feature work for Cokkie Snoei Gallery at the 2005 Amsterdam Art Fair.

The three Classic Shazzy works were included in the group exhibition, Oomph, Canberra Contemporary Art Space in 2007.

Jam Session #17, is owned by the National Gallery of Victoria.

A Bunch of Flowers was reviewed in The Age newspaper, The West Australian newspaper and Art Collector Magazine.

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