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Someone once asked me when I was preparing to get ready for a masquerade party, why I liked "playing the fool?" My immediate response to this pejorative question was a feeling of shame. But after some introspection and a few years of added maturity, I feel "playing the fool" is a positive aspect of the human condition, it is risking to go beyond one's self. As a painter I am always taking risks to move to another plateau, going beyond myself. It allows me to create something which is a new "other". The new costume allows one to be "other" whether by accident or by plan, one becomes more than oneself. It is a transformational moment, just as rich in nature as the moments arrived at through meditation or prayer. Similarly for me painting is "playing the fool". The foolish moment comes when I arrive at that point in my work when I feel I have given form to something that existed earlier in my mind, in my being. I am willing to risk presenting this as a work, the "other". It is that moment when the work becomes a reality, "flesh and blood" so to speak, an extension of me. My work is the product of those moments, the exploration of playing the fool..
About The Artist
James Paradis, 76, graduated from the Mass College of Art with a BFA in the spring of 2005 after having begun his studies at the college in his late sixties. His first major solo show in 2003 was at the French Library and Cultural Center of Boston. He has shown at the Copley Society of Boston, Granite Shore Gallery and the Court Yard Gallery.
He has exhibited in Auvillar, France where he was invited as a guest artist of the Centre d’Exchange Cultural d’Auvillar in 2002 and 2003.
In 2005 he was in a two man show at the Iris and B. Gerald Cantor Gallery at the College of the Holy Cross in Worcester, Mass. Roger Hankins, curator. Also in 2005 he was juried into the 10th Annual National Invitation Exhibit at St. Johns University in Jamaica, New York as well as selected to be part of the National Prize show of the Cambridge Art Association.
Reviews of his work have appeared in “Art New England”, “Art Scope” and the Boston Globe.
In 2006 and 2007 he was invited to be part of a group show at 38 Cameron Gallery, Cambridge, Massachusetts and into the National Juried show “New Art 06” at the Kingston Gallery, Boston.
New Art 06 is the third National Invitational Juried Show in the United States that he has been selected to show his work in two years. Curators who have selected his work have been John Thompson, Director of MassMocca and Susan Greenberg of the Yale University Art Department.
An installation piece entitled “Say It Isn’t So” is currently on display at 46 Waltham Street, Boston. Another work entitled “Barriers” is installed in the reception center of the Moakley Building at the Boston Medical Center as part of their permanent collection.
In 2009 the Khaki Gallery of Boston exhibited his work in a solo show entitled “Inside – Out Outside – In”.
James Paradis
284 Marlborough St.
(Studio 303a 46 Waltham Street.)
Boston, Ma 02116.
617.267.8886
paradisja@aol.com
Résumé
James Paradis' Résumé (pdf, 34k)
Reviews
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Cate McQuade, Boston Globe
June 25, 2008
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ARTSCOPE
May 2006
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....James Paradis' lone canvas rides high on the wall of a room mostly devoted to smaller works. They seem to notate slight shifts of thought to his fully formed declaration of an artist's "Manifest Destiny." Paradis' bold stripes and broad planes of color cling to a canvas convulsing in seismic folds, at once virile and vulnerable
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25/50: REUNION X 2: RECENT WORK BY JAMES STROUD '80 AND JAMES PARADIS '55
by James Foritano
Art New England
October/November 2005

James Paradis, Unbound Boundary: 2004-2005, oil on shaped canvas, 28 x 25 x 11". Lent by the artist.
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Waiting in the wings of this review, impatiently, is James Paradis, a full fifty years out of Holy Cross, busied, until 1995, with the Boston real estate market and an avid interest in art and drawing. Then, on the cusp of retirement, he felt drawn to a more academic and intensive engagement with art; so, at the age of 71, he joined the ranks of students at the Massachusetts College of Art and graduated recently with the Bachelor of Fine Arts.
Three intensely different canvases titled Moody Green demonstrate his early preference for landscape painting and his restless exploration of new territory. Moody Green # 7 is a 2-foot-square oil that descends from spring green to the dark moods of decay by way of an impassioned burst of stem shapes etched into a thick impasto. At the other end of the Moody Green spectrum is one of Paradis's signature "shaped" canvases.
Painted in sensuous mixtures of rich oils bespeaking humid vegetative processes, then wrapped in cool geometries of stripes, rhomboids, and triangles, these frameless canvases bulge out from their sites in alarming and mesmerizing convolutions, which lie in wait rather than reside around the corners of the Cantor Gallery. Are they topographies of the soul or of soulful whims? Either way, they form unique hybrids of space and line and color, with dimensions as mysteriously contiguous as the sides of their many-sided moods. Seventeen abstract oils on paper are each of modest size but of entirely immodest reach in their tonal subtleties, tensions, and calligraphic vigor. These round out the world of Paradis, a world of engaging leaps and poignant hesitations.
Archives
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