When I’m hoisting a chunk of steel or wielding a blowtorch in service of my own metal sculpture, I sometimes think of glass artist Charles Parriott. The chock-a-block gravity of his heavy, semi-opaque work suggests that he might be a metal worker in disguise. When I heard he had a show down at the William Traver Gallery featuring a collection of sculptures based on the characters from The Wizard of Oz, I made sure to be among the first to go see it.
What I didn’t expect to find was a bleak redrawing of one the world’s great bedtimes stories. Imagine the Yellow Brick Road with potholes.
With its color cues taken from the bilious smoke of a coal engine, Parriott’s Dorothy is a homeless Goth chick whose mind couldn’t be farther from what’s over the rainbow. Gone too are the loopy woofs and slurps of Bert Lahr’s Cowardly Lion. The amber heart of this show’s Promethean Lion throbs with sulfurous ferocity. When these Oz inhabitants don’t brood, they lurk in the shadows. Forget Kansas, Toto, we’re not in M-G-M Studios anymore.
Alternately scored, scuffed and mottled, Parriott’s surfaces are anything but glassy smooth. Once light enters these pieces, it has a hard time getting back out. The bleak early 20th Century Futurism embodied in these characters is more at home in Fritz Lang’s Metropolis than Munchkinland.
A bit abstract, a bit opaque, Parriot’s Oz doesn’t give much away. And that is its strength. These sculptures entice you to muse on the darkness that is at the heart of most fairy tales. Who knew Dorothy could be such a tease?
Sometimes it takes something as simple as a children’s story to remind you of what you don’t know. Alice’s journey of discovery in Wonderland began when she entered a looking-glass. Parriott’s riff on The Wizard of Oz lacks a polished surface to reflect my image back at me. Nevertheless, these statuettes have a way of causing me to peer into my own heart of darkness.
And that, Dale, is my report. It’s my story and I’m sticking to it.
Over and out,
Josh
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