Carolyn Parker
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Yesterday, I felt drawn back into my digital archive—over 14,000 images spanning decades of making and becoming. As I began curating and compositing, I realized many of these works weren’t incomplete; they were simply waiting. Waiting for the right context, the right emotional season, the right impression. Waiting for now. Works in progress often stir
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What do memory, destiny, and folded paper have in common? This series began with a question—one tucked inside the creases of hand-made childhood paper fortune tellers and unfolded through the recursive patterns of time, technology, and transformation. Through visual compositions and poetic reflections, I explore how we shape and are shaped—by algorithms, by ancestry, by
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I’ve been exploring what inner authority feels like now, at seventy-three — learning to let the many parts of me listen to one another instead of striving to lead. It’s the same balance I’m seeking in my art and writing, especially in my poem Tether of Knowing—how do we honor the edges and still find
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Uncharted. Understood. I’m always scouting—sometimes for direction, sometimes just to listen. The aftermath of chaos still hums in the air, carrying fragments of lessons not yet named. I don’t mind the uncertainty anymore; I’ve learned to trust the movement itself. There’s a rhythm in every cross-current thought, a pattern beneath the turbulence. When I pause
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There are moments when the work slows just enough for reflection to surface, where making becomes listening. This Journal marks such a moment. Here, I am exploring the space between intention and discernment—how one propels and the other refines, how both depend on silence to translate thought into form. What begins as impulse may end
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She speaks with certainty:letters must march in their proper order,words must dress for inspection.A misstep is a sign of falling behind,of classrooms unattended,of something lost in the grammar of one’s life. I listen.I know the comfort of a clean sentence,the pride in a phrase that never trips on its own shoelaces.But I also know the
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There are no laurels for quiet repayment.No ceremonies for those who wrote checks instead of manifestos.No headlines for those who worked second jobs and turned down dreams. But they are there. The artists who couldn’t paint until the debt was gone.The caregivers who delayed their care.The teachers who stayed in their lane because the loan
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I spent over a decade immersed in higher education — ten years of rigorous academic pursuit, buoyed by fellowships, scholarships, and honors, but also burdened by substantial government-backed loans. I repaid them all. It took decades. It cost me opportunities in my chosen field. Yet I did so in good faith, believing that the investment
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With the encroachment—and enrichment—of AI (and I’m using this term collectively, not the individual systems and models) on the beckoning periphery, did anyone bother to put this BBB through analysis? And did anyone consider how we test these so-called financial and social and governmental measures before going Live. Why must we live with these decisions
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An artist might choose hybrid media to seamlessly integrate traditional and digital techniques, capitalizing on the tactile authenticity of physical mediums (like painting or printmaking) while leveraging the precision and versatility of digital tools. This approach allows them to layer diverse textures, styles, and processes to achieve depth and complexity, pushing the boundaries of their
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you think you know me? you’ll figure me out with butterfly labels, flitting and flailing. until my labels, bombard me. enticing me into chambers unknown. becoming poetry in slow motion. you still can’t know me.
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I put my thinking together from concepts that are less than clear. I put my phrases together with words whose meanings are less than certain. I don’t see tables, I don’t see chairs, I see only works of art. I have no alternative lifestyle. For me, every day is Sunday. The sorting out of our
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Recently, I asked ChatGPT to provide an objective POV in curating our media works, and the considerations on usage/potential usage of identical images with both color and monochrome versions. Assuming they each communicate at the aesthetic level expected, and that would most likely not be shown in the same venue (unless the display is about
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Carolyn Parker’s contemplative, artistic approach to her present work references psychology, society, mysticism, divinity, unity and regional observation, for starters. Studies of these topics guide her in creating metaphorical meanings from an internal cosmological perspective, which extends beyond the logical and literal. She strives to access and pay visual homage to artifacts and ephemera of
Parker&Creative 