Where Parra’s distinctive female figures with their expansive gestures formed the protagonists in his preceding show in Paris last year, this time they seem to be less prominent and leave the canvas to the unfolding of landscapes and their natural elements depicted through the artist’s very own lens and in his distinctive style emerging from it.

In their flat, graphic precision and opaque coloring, the single elements develop an autonomy that plays with the canvas, creating its own frames and borders. Permeated with small mistakes in perspective, like visual glitches after staring into the sun for one glimpse too long, the works seem to capture a space between reality and abstraction.

Depicting some of the most traditional motifs in the history of art and painting, they are enriched by centuries of tradition and are both simultaneously a homage to and emancipation from their heritage.

Parra’s well-known, dog-like creatures complement the show as bronzes, translating the dynamic of their graceful forms into the static of a sculpture. They too are part of a communication in fragments, that at the same time demands to be viewed independently, as well as in mutual relation and reference.

Parra presents his third solo exhibition Hold on to your mini horse at Ruttkowski;68 in Paris.

Parra’s unmistakeable style of rich color, graphic shapes and playful precision moves on the edge of abstraction and figuration. The female form, with expansive gestures and a strong body language, serves as the protagonist in most of the paintings. It tells the context of the scene by setting itself apart from the background and then, seamlessly reinserting back into it. In the fleeting moment of a movie scene on pause lies a graphic perfection, a planned spontaneity, a polarizing connection, a public intimacy of the domestic scenery.

Each work demands to be viewed autonomously, stands independently and unfolds uniquely. The viewers get served snippets of this story, that they must tell themselves and is created by their own personal references, memories and thoughts.

The abstract landscapes seem abandoned, as if the viewer appeared too late or too early for the story. This supposed emptiness opens up into a frame, that then makes the composition of form and color itself the protagonist of a story, depicting a shallow suffering of everyday life through the distant lens of irony.

I'M JUST HAPPY WE GOT A CAT sees Parra's stylized female subjects exploring themes of the mundane, domestic life in all its tediousness. We see them resting, in conversation, passing the time, always indoors. When there is daylight visible through windows, it’s not that they can’t reach it, but that it’s no longer of interest.

Each day repeats itself in these scenes and his subjects become further abstracted in their monotony. A far cry from the pop influences of his early work, I'M JUST HAPPY WE GOT A CAT' shows Parra carefully exploring early Cubism with six new, beautifully restrained scenes we - maybe now more than ever- can all relate to.