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Landscapes and Architectural Images

Tax-Dodger-Brian-Parker-Artist The title refers to the habit in old Amsterdam of building houses with narrow frontages to avoid a tax based on how wide your home was. I was drawn to paint this scene because of the high degree of patterning and reflections in the composition and the subtle yellow/violet complementary colours in the scene. — Tax-Dodger-Brian-Parker-Artist
70×50 cm acrylic on paper. The title refers to the habit in old Amsterdam of building houses with narrow frontages to avoid a tax based on how wide your home was. I was drawn to paint this scene because of the high degree of patterning and reflections in the composition and the subtle yellow/violet complementary colours in the scene.

30"x40" acrylic on canvas 2021. — All-Downhill-from-Here-Brian-Parker-Artist
30″x40″ acrylic on canvas 2021.

Old-&-Tired-Brian-Parker-Artist This had to be painted because of the insane number of colours crammed into such a small space and because it was a challenge to see if I could paint something so far out of my comfort zone. — Old-&-Tired-Brian-Parker-Artist
40″ x 30″ acrylic on canvas 2021. This had to be painted because of the insane number of colours crammed into such a small space and because it was a challenge to see if I could paint something so far out of my comfort zone.

Empty — Empty-Brian-Parker-Artist
50×70 cm acrylic on paper 2020. ‘Empty’ plays with perspective, colour and line and displays an obvious link to Escher’s style based as it is on the architecture of the Escher Museum in The Hague. The interplay of the arches, stairs, railings, floors and ceilings contribute to the organised confusion of ‘Empty’- a space waiting for the return of the crowds when life returns to normal.

50 x 70 cm acrylic on paper 2020. This desolate image of the deserted East Finchley tube station reminds me of the early days of the covid lockdown when the street were empty. — Lockdown-Brian-Parker-Artist
50 x 70 cm acrylic on paper 2020. This desolate image of the deserted East Finchley tube station reminds me of the early days of the covid lockdown when the street were empty.

Venetian Sunshine — Venetian-Sunshine-Brian-Parker-Artist
70×50 cm acrylic on paper 2020. It’s all about the light and shade.

Light into the Dark — Light-into-the-Dark-Brian-Parker-Artist
70×50 cm acrylic on paper 2020. I was walking back from a show when I saw this scene at Regent’s Canal, it had to be painted. It’s a finalist in the 139th Royal Ulster Academy of Arts annual exhibition.

All the Riches of the World — All-the-Riches-of-the-World-Brian-Parker-Artist
50×70 cm acrylic on paper.

50x70 cm acrylic on paper. Number four in my Japanese series and results from my trip to Japan in 2016 depicting a young Buddhist monk rushing to start his day at the temple passing an avenue of lamps which caught my fancy. — Walking to Work
50×70 cm acrylic on paper. Number four in my Japanese series and results from my trip to Japan in 2016 depicting a young Buddhist monk rushing to start his day at the temple passing an avenue of lamps which caught my fancy.

50x70 cm acrylic on paper. An view of the canal on the famous glass blowing island of Murano in which I try to capture the early morning feel just after dawn before anyone is out and about. — Time-to-Rise-Brian-Parker-Artist
50×70 cm acrylic on paper. An view of the canal on the famous glass blowing island of Murano in which I try to capture the early morning feel just after dawn before anyone is out and about.

The-View-from-Tate-Liverpool-Brian-Parker-Artist This is the view from the 5th floor of Tate Liverpool looking out on the iconic Liver Building and a message I take to reference John Lennon, one of my very few hero's. — The-View-from-Tate-Liverpool-Brian-Parker-Artist
Acrylic on canvas 40″x30″. This is the view from the 5th floor of Tate Liverpool looking out on the iconic Liver Building and a message I take to reference John Lennon, one of my very few hero’s.

Acrylic on paper A1. An early work based on a sketch I did whilst having a break at Tate Modern, reality or abstraction? — The-Turbine-Hall-Tate Modern-Brian-Parker-Artist
Acrylic on paper A1. An early work based on a sketch I did whilst having a break at Tate Modern, reality or abstraction?

70x50 cm acrylic on paper. This series of 5 paintings takes you on a walk through this amazing space, both the colour palette and the wonderful patterns in this space just demanded that I paint this. Number 3 was a finalist in the Sunday Times Watercolour competition 2018 — The-Clore-Gallery-Tate-Britain-Brian-Parker-Artist
70×50 cm acrylic on paper. This series of 5 paintings takes you on a walk through this amazing space, both the colour palette and the wonderful patterns in this space just demanded that I paint this. Number 3 was a finalist in the Sunday Times Watercolour competition 2018

70x50 cm acrylic on paper. This series of 5 paintings takes you on a walk through this amazing space, both the colour palette and the wonderful patterns in this space just demanded that I paint this. Number 3 was a finalist in the Sunday Times Watercolour competition 2018 — The-Clore-Gallery-Tate-Britain-Brian-Parker-Artist
70×50 cm acrylic on paper. This series of 5 paintings takes you on a walk through this amazing space, both the colour palette and the wonderful patterns in this space just demanded that I paint this. Number 3 was a finalist in the Sunday Times Watercolour competition 2018

70x50 cm acrylic on paper. This series of 5 paintings takes you on a walk through this amazing space, both the colour palette and the wonderful patterns in this space just demanded that I paint this. Number 3 was a finalist in the Sunday Times Watercolour competition 2018 — The-Clore-Gallery-Tate-Britain-Brian-Parker-Artist
70×50 cm acrylic on paper. This series of 5 paintings takes you on a walk through this amazing space, both the colour palette and the wonderful patterns in this space just demanded that I paint this. Number 3 was a finalist in the Sunday Times Watercolour competition 2018

70x50 cm acrylic on paper. This series of 5 paintings takes you on a walk through this amazing space, both the colour palette and the wonderful patterns in this space just demanded that I paint this. Number 3 was a finalist in the Sunday Times Watercolour competition 2018 — The-Clore-Gallery-Tate-Britain-Brian-Parker-Artist
70×50 cm acrylic on paper. This series of 5 paintings takes you on a walk through this amazing space, both the colour palette and the wonderful patterns in this space just demanded that I paint this. Number 3 was a finalist in the Sunday Times Watercolour competition 2018

70x50 cm acrylic on paper. This series of 5 paintings takes you on a walk through this amazing space, both the colour palette and the wonderful patterns in this space just demanded that I paint this. Number 3 was a finalist in the Sunday Times Watercolour competition 2018 — The-Clore-Gallery-Tate-Britain-Brian-Parker-Artist
70×50 cm acrylic on paper. This series of 5 paintings takes you on a walk through this amazing space, both the colour palette and the wonderful patterns in this space just demanded that I paint this. Number 3 was a finalist in the Sunday Times Watercolour competition 2018

Acrylic on paper 50x70 cm SOLD. A painting based on a poem for an exhibition about the famous funicular on Southend-on-Sea cliffs. One of the drivers bought a print. — The-Cliff-Lift-Brian-Parker-Artist
Acrylic on paper 50×70 cm SOLD. A painting based on a poem for an exhibition about the famous funicular on Southend-on-Sea cliffs. One of the drivers bought a print.

Acrylic on board. Another early example of my interest in perspective, colour and pattern .Situated on Southend seafront. — The-Block-Brian-Parker-Artist
Acrylic on board. Another early example of my interest in perspective, colour and pattern .Situated on Southend seafront.

50x70 cm acrylic on paper. A temple in Kyoto enlivened by the insertion of two interesting figures. — Temple-of-Light-Brian-Parker-Artist
50×70 cm acrylic on paper. A temple in Kyoto enlivened by the insertion of two interesting figures.

80x60 cm acrylic on board SOLD. Based on a photo I took in the 80's which depicts that place we've all been - coming down while waiting for the milk train to get home after a party. — Saturday-Night-Sunday-Morning-Brian-Parker-Artist
80×60 cm acrylic on board SOLD. Based on a photo I took in the 80’s which depicts that place we’ve all been – coming down while waiting for the milk train to get home after a party.

Acrylic on canvas 30"x40" SOLD. My take on the famous honeymoon Greek island of Santorni capturing the light of an early evening sunset. Now in New Zealand. — Santorini-Sunset-Brian-Parker-Artist
Acrylic on canvas 30″x40″ SOLD. My take on the famous honeymoon Greek island of Santorni capturing the light of an early evening sunset. Now in New Zealand.

Acrylic on canvas. Just fell in love with the beautiful patterns created by the light and shade in this image; and I do love blue. — Rhapsodic-Brian-Parker-Artist
Acrylic on canvas. Just fell in love with the beautiful patterns created by the light and shade in this image; and I do love blue.

Acrylic on canvas. A portrait of my New York friend Brittany relaxing in the roof garden of a down town hotel. — *SOLD* Manhattan Skyline
Acrylic on canvas. A portrait of my New York friend Brittany relaxing in the roof garden of a down town hotel.

102x102 cm acrylic on canvas. My friend Bitty relaxing on an imaginary beach. — Lazy-Day-Brian-Parker-Artist
102×102 cm acrylic on canvas. My friend Bitty relaxing on an imaginary beach.

50x70 cm acrylic on paper. I was strolling through the geisha district in Kyoto when I came across this couple in traditional dress having their wedding photos taken. They were deliriously happy, obviously deeply in love and I hope my painting captures that joy. — Kyoto-Joy-Brian-Parker-Artist
50×70 cm acrylic on paper. I was strolling through the geisha district in Kyoto when I came across this couple in traditional dress having their wedding photos taken. They were deliriously happy, obviously deeply in love and I hope my painting captures that joy.

89x159 cm acrylic on canvas. Another view of Hong Kong from the sea including a very iconic junk. I painted this scene three times using different techniques, this one was painted entirely using a palette knife, just to see if I could. — Junk-Brian-Parker-Artist
89×159 cm acrylic on canvas. Another view of Hong Kong from the sea including a very iconic junk. I painted this scene three times using different techniques, this one was painted entirely using a palette knife, just to see if I could.

70x50 cm acrylic on paper . This was a commission based on an iconic location in Hong Kong and includes the name "Hong Kong" in Chinese script and one of the famous red taxis at the clients request. — *SOLD* Hong Kong Memories
70×50 cm acrylic on paper . This was a commission based on an iconic location in Hong Kong and includes the name “Hong Kong” in Chinese script and one of the famous red taxis at the clients request.

30"x40" acrylic on canvas . A scene based on a canal in Utrecht that I had to paint because of the lovely patterns created by the bridges and the fascinating reflections in the water. — Going-Round-in-Circles-Brian-Parker-Artist
30″x40″ acrylic on canvas . A scene based on a canal in Utrecht that I had to paint because of the lovely patterns created by the bridges and the fascinating reflections in the water.

50x70 cm acrylic on paper. One of series resulting from my trip to Japan. Every artist who visits Japan has to do a Mount Fuji painting this is mine, influenced by Japanese style but via my personal vision. — Fujisan-by-Moonlight-Brian-Parker-Artist
50×70 cm acrylic on paper. One of series resulting from my trip to Japan. Every artist who visits Japan has to do a Mount Fuji painting this is mine, influenced by Japanese style but via my personal vision.

Acrylic on paper 50x70 cm . Another take on this Art Deco tube station which I really love to paint. There may be more. — East-Finchley-Revisited-Brian-Parker-Artist
Acrylic on paper 50×70 cm . Another take on this Art Deco tube station which I really love to paint. There may be more.

50x70 cm acrylic on paper. One of a series of picturesque Italian fishing villages which I find delightful and which create beautiful patterns. — Cinque-Terre-Vernazza-Brian-Parker-Artist
50×70 cm acrylic on paper. One of a series of picturesque Italian fishing villages which I find delightful and which create beautiful patterns.

50x70 cm acrylic on paper. One of a series of picturesque Italian fishing villages which I find delightful and which create beautiful patterns. — Cinque-Terre-Manarola-Brian-Parker-Artist
50×70 cm acrylic on paper. One of a series of picturesque Italian fishing villages which I find delightful and which create beautiful patterns.

Acrylic on paper 62x62 cm. An old and decrepit beach shelter in Leigh-on-Sea which caught my eye and had to be painted — Beach-Shelter-Brian-Parker-Artist
Acrylic on paper 62×62 cm. An old and decrepit beach shelter in Leigh-on-Sea which caught my eye and had to be painted

60x80 cm acrylic on board. An early example of my interest in perspective, colour and pattern. Near where I live - Shoeburyness . — Beach-Huts-Brian-Parker-Artist
60×80 cm acrylic on board. An early example of my interest in perspective, colour and pattern. Near where I live – Shoeburyness .

40"x30" acrylic on canvas. I really like this image for although it is true to reality it is also a purely abstract depiction of pattern and I love the really simple colour palette. — Original *SOLD* Airports of the World #35 – Malaga
40″x30″ acrylic on canvas. I really like this image for although it is true to reality it is also a purely abstract depiction of pattern and I love the really simple colour palette.

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Copyright ©Brian Parker 2021 All Rights Reserved

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Brian Parker 07886 306783 brianthedancer@hotmail.co.uk facebook.com/Brian.Parker.Artist instagram.com/brian.parker.artist twitter.com/brianparkerart