That Parker's mercurial mind can range across so many types of media and modes of expression – now framing rumpled handkerchiefs smudged with the tarnish of silverware owned by everyone from Guy Fawkes to Charles Dickens (Stolen Thunder, 1996-7), now using a hot poker to singe folded paper to create a pattern of seared holes (Hot Poker Drawings, 2009-2013) – one may reasonably wonder whether a retrospective of her work can reveal any discernible sense of evolution in style or vision. To survey her oeuvre is to witness a careful accumulation of aesthetic technique and refinement of approach.
