My sculptural practice of recent years is driven by what I find, in particular, plastic objects drawn from a variety of different sources, of both small and large scales. The objects themselves, often unusual in form and bold in colour, motivate and direct me to combine them in a way that produces eccentric and poetic structures, some of which have been translated into large-scale permanent public sculptures.

The two recently cast bronze sculptures 'Boomtown#18' and 'Boomtown #34', are drawn from the 2016 exhibition collectively titled 'Boomtown'. The exhibition featured sixty-four small assemblages, each with a height of approximately 20cm. The assemblages are made up of found colourful plastic, such as toy parts, plumbing fixtures and kitchen appliances etcetera.

Alongside the 'Boomtown' assemblages were eight large-scale collages, constructed from gloss enamel painted paper. Each depicts an apartment building, onto which an enlargement of a 'Boomtown' assemblage is transposed, suggesting streets full of public art. In this way, the 'Boomtown' assemblages are intended as a series of maquettes, having the potential to be reproduced in different materials and different scales.

- Louise Paramor

Louise Paramor’s works seek to challenge the conventional associations surrounding discarded objects through an interest in their transformative potential.  She explores ideas of feminine desire, seduction, romantic clichés, consumerism, and globalized culture through range of assemblages, collages, paintings, installations, and public artwork constructed of found objects and ephemeral materials.

Described as alien, bizarre, beautiful, surreal Paramor’s visual language makes reference to society’s creation of the ephemeral material object.  She looks at domestic and industrial remain and their associated spaces with a concern for the discarded, transience, and mass consumption.  She has a preference for plastic as a material, not only for its colour, surface, and potential as a sculpting material, but also for its varied associations.

Of Paramor’s work, Chris McAuliffe has stated: “It’s more a case of finding subjects that don’t know that they’re sculptures and convincing them to be something more.”  Paramor’s intricate creations are certainly imbued with this notion, creating new meaning in a seemingly effortless manner.  Referencing movements that span Cubism, Constructivism, Dada, Paramor’s diverse works have a quality reminiscent of Duchamp’s readymade with an added Pop aesthetic, and speak a language all their own.

Louise Paramor holds a Bachelor of Fine Arts in Painting from the Western Australian Institute of Technology (1985) and a Postgraduate Diploma in Sculpture from the Victorian College of the Arts (1988).

Paramor has participated in many solo and group exhibitions including:  Melbourne Now, National Gallery of Victoria, Melbourne (2013); Louise Paramor: Emporium – A survey exhibition 1990-2013, The Glen Eira City Council Gallery, Melbourne (2013); and the Lorne Sculpture Biennale, Lorne, Victoria (2014).   Paramor’s work is held in several significant collections in Australia including the National Gallery of Victoria, Melbourne, Heide Museum of Modern Art, Victoria and the Art Gallery of Western Australia, Perth.