JACQUELINE DEE PARKER

is an artist and a poet who was born in New York City and raised in New Haven, Connecticut. She holds a BA from Sarah Lawrence
College and an MFA in creative writing with a secondary emphasis in painting and drawing from Louisiana State University.

Parker has served as an instructor at Louisiana State University since 1993, and taught in the Department of English before joining the
School of Art in 2003. Ann Connelly Fine Art (LA), Diane Birdsall Gallery (CT), and Hooks- Epstein Gallery (TX), represent her work, and
she is an artist member of the Baton Rouge Gallery Center for Contemporary Art and The Center for the Book (NYC).

Prior to life in Louisiana, Parker lived and worked as a freelance graphic layout artist in New York City, Boston, and Detroit. Her poems
appear in literary journals and anthologies, including Atlanta Review, The Southern Review, Chelsea, and American Diaspora: Poetry of
Exile, among others.

Parker was awarded a juror’s prize in the 2009 Rauschenberg Tribute Exhibition (Museum of the Gulf Coast), and her work has been
nominated for a Pushcart Prize. She is the recipient of a 2007 Artist Fellowship from the Louisiana State Division of the Arts. She lives in
Baton Rouge with her husband, cellist Dennis Parker, and their children.
Artist Statement:

As a mixed media painter and a poet, my work is inspired by the correspondence between these art forms.  Collage elements move me
to build layers and texture, to respond to textual and cultural evidence, and to indulge my interest in language, history, and ephemera, all
the while engaged in a visceral construction of space. I’m interested in the concept of liminal space, a sensory threshold that bridges the
conscious and the unconscious mind.  

In my work, boundaries, borders, intersections, and thresholds allude to moments of ambiguity, transition, or passage.  Most of us
search for balance in our lives, in mind, body, and spirit, and negotiate the vertical, horizontal, and other directional forces that organize
human life and create paths of movement.  

Early life in the home of an architect and a violinist clearly influenced my aesthetic. Exposure to the art of architecture encouraged my
interest in spatial relationships, taught me to read elevations and visualize their 3-D intentions, and, at construction sites, to appreciate
the evolution of concept to form. Music played where words ended, roused layers of emotional response, and altered the sense of place
and time. Together, these ingredients fostered an affinity for abstraction and design.
                                                                                                                        DENNIS PARKER

was born in New York City and began his cello studies at the age of six. He received his early training with Channing Robbins of the Juilliard
School, and later earned degrees from Indiana University and Yale University, where he worked with Janos Starker and Aldo Parisot,
respectively.   Inspired by a variety of musical activity Parker maintains an active touring and performance schedule, appearing frequently as
soloist, recitalist, collaborator, and guest professor at universities and festivals throughout the U.S. and abroad.  

The past few seasons have taken him to Brazil, China, Colombia, the Czech Republic, Spain, Hungary, Mexico, and across the U.S.
Parker is actively involved in the expansion of the existing cello repertoire and has transcribed many works for his instrument. A committed
pedagogue, he released a DVD and instructional manual, The Popper Manifesto  in 2002.  It remains the first and only complete filmed
performance of David Popper’s “High School of Cello Playing.”  

Parker’s CDs with the Centaur label include Cello Matters, which features music for cello and piano by Liduino Pitombeira, Daniel Schnyder,
David Baker, and Astor Piazzolla, and Uplifting Discoveries from a Generation Lost, a recording of chamber music by composers who
perished in the Holocaust (Erwin Schulhoff, Gideon Klein, Viktor Ullmann and Hans Krasa).  In 2010 Ariel Ventures released Homage to
Fiddlers, including “Sonata for Cello and Piano” and “Piano Trio” by Russian composer/pianist Ivan Sokolov and Duos for Cello and Violin
by Czech composers Viktor Kalabis and Jan Vicar.

In 2013 Parker released MOZART ON CELLO?, first recordings of his transcriptions for Mozart's “Violin Concerto 5 in A Major” and “Sinfonia
Concertante in Eb for Violin and Cello”. He also published editions of his transcriptions (nucello editions), adapted and edited for cello.  In
2014 Parker released Walter Burle Marx: Works for Cello, which features the cello output of distinguished Brazilian composer, Walter Burle
Marx.  Parker gave the world premiere of the Marx Cello Concerto in 2006, and has performed the work in the US and Europe.  

Parker’s Stolen Sonatas Vol.1  includes first recordings on cello of three of Parker’s transcriptions. Recorded live with pianist Jennifer
Hayghe, this disc features Poulenc’s “Sonata for Flute”, Debussy’s "Sonata for Violin in G minor”, and Enesco’s “Violin Sonata No.3 “.
A Haymon Professor of Music, Parker has taught Cello and String Chamber Music at the Louisiana State University School of Music since
1988.  

Prior to his tenure at LSU, he served as Principal Cellist of the Porto Alegre Symphony Orchestra in Porto Alegre, Brazil, and was a member
of the Detroit Symphony Orchestra.   When not playing cello, Parker, an avid woodworker and sculptor, creates objects that extend his
musical expression and complement the delicate act of performance with the risky business of maneuvering wood through various cutting
and shaping devices.  
Artist Statement:

Outside of the practice room and concert hall, I create objects that extend my musical expression and complement the delicate act of performance with the risky business of maneuvering wood
through various cutting and shaping devices.  As I work, I ask myself, “why not?”  If no reason comes to mind, I trod onwards. Unlike musical performance, where many rules govern the creative
process, this work is the antidote at the end of the day that allows me the freedom of nonsensical juxtaposition.  

My primary source materials are remnants of defunct  musical instruments and other found objects.  As I have friends across the U.S. who are luthiers and musical repairmen, I have been the
beneficiary of their refuse, and seek to breathe new life into these wooden forms that remain intrinsically beautiful even when they are no longer playable.
THE CADENZA:  
Collage Paintings and Sculpture by Jacqueline Dee Parker and Dennis Parker “The Cadenza” includes two- and three-dimensional works created by
mixed media artist and poet, Jacqueline Dee Parker, and cellist and sculptor, Dennis Parker.  The Baton Rouge-based duo is drawn to the use of found
materials, and there is a clear counterpoint to their collective artistic activity.   Juxtaposition is a critical part of both artists’ creative process, and musical
matter infuses their work.   Dennis repurposes defunct violins, cellos, pianos, and other found objects, many of which include music movements.  His
sculptural work is a cathartic release from the rigors of more serious cello life, and many of his pieces are interactive and playful.  

Jacqueline views collage as a mode of perception, and finds that it facilitates her exploration of language, history, and ephemera.  Including papers from
antique books, sheet music, and player piano rolls, her work evolves as a visceral construction of psychic and emotional space, and the pieces read like
visual poems.
EVERY SATURDAY NIGHT IS HALLOWEEN

The man in the tangerine cloak pulls on his beard

and it lengthens, considerably. His hands, Reba scrawls

on a cocktail napkin, slipping it under my glass

so the ink goes bloody. “What?” This time she whispers,

and I look: 2 cardinals where fingers would be,

one flexing its carmine wings, the other pecking the head

of a burning butt dead in an amber glass ashtray.

“Imagine,” coos Reba, “those wings around you!”

I say, “you’re so assailable when you’re drunk.”

© 1998 Apalachee Quarterly
THE NEW YEAR

You’ll begin again, anew,

after all is said and done,

the bobbing adam’s apple, swelled breast,

    wrists pulsing arias or don’ts—

supper plates stacked by the sink, drinks left

    bereft of ice or fingertips—

the party will have descended to the sofa

    transfixed by some eclipse,

a wick soaked in paraffin,

    a board game’s icon

             four squares from finish,

and legs and arms will again fold

    into one another

             as in prayer—

© 2013 E-ratio
Two poems: Jacqueline Dee Parker