Lynn Parotti (born 1968, Nassau, The Bahamas) is
a London-based artist whose visceral oil paintings are informed by the physical
and psychological landscape.
Her work addresses the human experience and
topical issues in society such as global warming, climate change, and migration
whilst keeping abreast of contemporary issues in painting itself.
Kick-starting her career with numerous awards from local Bahamian scholarships like Lyford Cay and Exxon, Parotti moved to New York at 16 where she ended up completing her Bachelor’s degree in Painting from the State University of New York at Purchase in 1990. She then earned her Master’s of Fine Arts Degree in Painting and Printmaking at Virginia Commonwealth University in 1993. In the summer of 1992, she was awarded a place and scholarship at the intensive Artist’s Residency, Skowhegan School of Painting and Sculpture in Maine for emerging artists. In 1994 she moved to London where she became the Artist-in-Residence for various schools and hospitals including the Chelsea Children’s Hospital School until 2006 securing funding from the Arts Council of England to help set up a Holiday Programme for hospitalized children.
Parotti had a solo exhibition at the Chelsea Arts Club in 2007, entitled When the Bough Breaks, focusing on stress on the environment referencing the nursery rhyme Rock-a-Bye-Baby. In 2008, Parotti exhibited alongside her sister Holly, in Limit at Popop Studios International Centre for the Visual Arts in Nassau- an exhibition with similar environmental themes. This was followed by The Force that Through the Green Fuse Drives the Flower in London where she also curated Alterworld in 2009 in the same artist run space. Her work was selected for the Liverpool Biennial in 2010, chosen for a topic-based exhibition, Three Moments, which asked artists to examine the relationship between Liverpool and the Caribbean, as part of City States at the Contemporary Urban Centre, Liverpool, England. Her response was an installation, entitled The Space Between Want addressing interpretations of history from differing perspectives and perceived components of Caribbean identity in the form of love, money and religion. In this same year her response to a call for works at the National Art Gallery of the Bahamas of “What is your Carbon Footprint” was to create Tar Baby, an installation comprised of three large scale paintings and a centralized sculpture which indicated the potential sea level rise by 2100. Reference to the popular Uncle Remus story of that name (1881) reminded us that failing to act properly on a situation leads to trouble, indicating further the unsuspecting double entendre often present in her colour soaked work.
Parotti stresses the importance of the natural world of the Bahamas as the primary source material of her work such as in that of Inagua, a series focusing on the symbiotic relationship between salt production, the environment and fauna. Her work has been exhibited in group and solo exhibitions in the United States, United Kingdom, Italy and The Bahamas. Her paintings and garden, which she believes to be an integral part of her artistic process, have been featured on the BBC’s Gardener’s World and Great British Garden Revival, and ITV’s Britain’s Best Back Gardens all between 2013-15.