(originally published 4/9/15 in Essay'd)
The paintings of Megan Parry are obsessed with looking. In her wry and varied visual universe, cartoonish, baldheaded figures peer at the viewer, at one another, or at obscure objects of interest that only they can see. Huge, lidless eyeballs (intimations of vast, inscrutable beings that the canvas cannot contain) hover in close-up and stare with a deranged intensity, or else a kind of cosmic serenity. When Parry paints houses, their windows are often eyes: personifying, face-making. Even her multitudinous coffins and “enclosures,” isolated details of an architecture of confinement, have eyes, have windows -- or if they don’t, they insistently don’t, inviting the viewer to wonder what is being kept in (or out) behind their solid walls.