Photograph of Artist SHARRON PARKER
SHARRON PARKER
Wake Forest, North Carolina - United States



Original Artworks (6)

Sharron Parker; Capturing The Light Iii, 2009, Original Fiber, 41 x 33 inches. Artwork description: 241 A handmade felt wall piece made of dyed, unspun wool and silk, with silk yarns...
Sharron Parker
Original Fiber, 2009
41 x 33 inches (104.1 x 83.8 cm)
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Sharron Parker; Perfect Storm, 2010, Original Fiber, 51 x 40 inches. Artwork description: 241 A handmade felt wall piece made of dyed, unspun wool and silk, with additional yarns. ...
Sharron Parker
Original Fiber, 2010
51 x 40 inches (129.5 x 101.6 cm)
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Sharron Parker; Deluge, 2009, Original Fiber, 35 x 32 inches. Artwork description: 241 Handmade felt wall piece created after a thunderstorm caused the river to rise at a Vermont mill site. ...
Sharron Parker
Original Fiber, 2009
35 x 32 inches (88.9 x 81.3 cm)
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Sharron Parker; Phoenix, 2003, Original Fiber, 40 x 28 inches. Artwork description: 241  A wall hanging made of handmade felt. ...
Sharron Parker
Original Fiber, 2003
40 x 28 inches (101.6 x 71.1 cm)
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Sharron Parker; Earth Forces, 2003, Original Fiber, 76 x 39 inches. Artwork description: 241  A wall hanging of handmade felt. ...
Sharron Parker
Original Fiber, 2003
76 x 39 inches (193.0 x 99.1 cm)
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Sharron Parker; Crosscurrents, 2004, Original Fiber, 26 x 44 inches. Artwork description: 241  Handmade felt wall piece ...
Sharron Parker
Original Fiber, 2004
26 x 44 inches (66.0 x 111.8 cm)
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Artist Statement

As a child I chased butterflies, scrambled over rocks, and read romantic tales of faraway places. Years later, I’ve studied butterflies and rocks, and traveled to many of the places—the Amazon rainforest, craggy cliffs with castle ruins, remote island beaches—and I’ve never lost the wonder of them. Yet exotic beauty can be found everywhere.

I use the ancient technique of feltmaking not to capture what I’ve seen directly, but to create something new. The simplicity of the technique—combing, layering, and working dyed unspun wool in hot water until the fibers lock—allows me to work spontaneously, and often experimentally. The shape of a piece might come from a bird’s wing, the color from crystals under a microscope, a line from the sinuous edge of a pond meeting the shore, and the texture from the bark of a birch tree. I wish to celebrate nature, not to mirror it.
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