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 "There are invisible entities that surround us at all times. They are conceived by natures cries and birthed from transluscent gelatinous eggs. They are attracted to high vibration, and often find themselves in urban spaces -- mimicking the shapes of humans -- they find our anatomy amusing. at the end of their life cycle they retreat to the still water of green swamps and wait for their slow metamorphosis to take place becoming bubbles to sit between strings of algae."

Sound and Its Entities considers the land not as passive terrain, but as a living psychological force—one that quietly shapes bodily instinct, memory, and emotional response. The paintings' dense organic forms and fluid, porous structures evoke terrains that feel simultaneously internal and ecological. Vein-like networks, bleeding pigments, and cellular textures blur distinctions between body and landscape, suggesting that the psyche itself may be environmental—formed through repeated sensory negotiations with place. The deep earthen palette oscillates between intimacy and unease, reflecting the tension between attraction and vulnerability that often accompanies encounters with the natural world, and how we carry these feelings into urban landscapes.

Framing Devices explores the paradox of growing up in a world already saturated with images of other people’s pasts. The Post-Internet Nostalgia Generation – Luckk Parker’s name for the generation caught between Millennial and Gen Z – born into the internet’s adolescence, has inherited not only its digital artefacts but also its peculiar affect: anemoia, the longing for a time one never lived. These fragments, preserved with digital stubbornness, do not degrade like memory; they remain lossless, keeping us suspended between adolescence and adulthood, between personal recollection and collective myth.

By translating digital flatness into material form, Framing Devices asks how memory – false, borrowed, or fabricated – shapes our sense of self. The works hover between intimacy and exposure, archive and projection, permanence and fragility. These works are unstable monuments: containers for longing, residues of bedrooms both real and imagined, and mirrors of a generation caught in a feedback loop of desire, memory and delay.

"For the past 7 years I have been completely enamoured by the places, beings and experiences that have emerged from my dream plane (the peripheral world which we all inhabit in during a REM cycle). I have kept several dream journals for this 7 year period and have often gone back to journals from previous years and found dreams that are incredibly impactful; premonitions that had been fulfilled, visits from estranged loved ones, grieving a child that I never physically held, and a banquet dinner with all future and past versions of myself.

Over 5 months I engaged in conversations about dreams with family, friends and strangers to produce a series of dream visualisations."

Positioned as both a recipient and conveyor of stories, Parker holds a steadfast belief in the transformative potential of art. Their work stands as a testament to art's ability to unite individuals of varying backgrounds in a collective contemplation, nurturing heightened empathy and enlightenment. Through their creative endeavours, Parker meticulously constructs a communal realm, where diverse outlooks coalesce and where narratives find a haven for sharing, trading, and preserving. Within this realm, Parker's art emerges as a catalyst for discourse, motivating viewers to extend the hand of connection to their own circles and perpetuate the unbroken chain of storytelling.