Though Louise Paramor’s work inspires an initial reaction of pure visual delight, viewers are advised to look twice and think twice, for things are seldom as they appear. Paramor plays with contradictions and ambiguities, forcing us to ponder, reconsider, and question.
In the late ’90s and early 2000s, while Paramor was in residence in Berlin, she created a series of large-scale paper sculptures, based, she explains, “on the honeycomb principle—a system of alternating lines of glue on many leaves of paper that once cut into a shape and pulled around a 360-degree axis form
a voluminous object.” Tedious to produce, these works impressed with their intricate fragility and gratifying symmetry reminiscent of paper party decorations. Sometimes rendered in pure white, other times in brilliant reds, yellows, and blues, some on the floor and others hanging from the ceiling like chandeliers, they suggested an atmosphere of festivity. But then misgivings began to arise...see the entire article in the print version of January/February's Sculpture magazine.
Hotel Panorama, 2011. Found plastic, 130 x 80 x 35 cm. From “Stupa City.” Above: Installation view of “Lustgarten” at Schloss Pillinitz, Dresden, 2000.