Parker Ito
Parker@ParkerIto.com


I LOVE ART HA HA HA HA HA HA HA HA HA HA HA HA HA HA HA HAHAHAHA

THIS WEBSITE WILL NEVER BE FOR SALE!!!!!!

Hover over me... Olivia

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selected works

Part 1: Parker Cheeto's Infinite Haunted Hobo Playlist (A Dream to Some, a Nightmare to Others) by L'atelier de PPPPPP

Prelude: Cheeto Returns (Rainbow Rose Still Lifes at Kaldi Coffee and Tea) (2014)

I Can't Fuck You Tonight I'm Reading Proust (2014)

MISC (2014)

Nothing Was the Same (John Boehner Ramesses III) (2013)

Memoirs of an Imperfect Kawaii Trill BB (FIAC) (2013)

Air to Surface (w/ Helen Johnson) (2013)

Parker Cheeto: The Net Artist (America Online Made Me Hardcore) (2013)

See Also: Lai Fun, List of Pasta, Soba (2013)

MISC (2013)

From Me 2 U, From U 2 Me (2012)

The Agony and the Ecstasy (2012)

Ghost in the Puka Shell(in collaboration with Body by Body) (2012)

Anime Bettie Page Fucked By Steampunk Horse Warrior (in collaboration with Body by Body) (2012)

The Most Infamous Girl in the History of the Internet / Attractive Student / Parked Domain Girl (2010 - 2013)

*new jpegs* (2011) curatorial

Deke2.com(2010 - ????)

Tumbler.Me.UK (as Olivia Calix) (2011)

Olivia Calix(2011)

JstChillin.org (2009 - 2011)curatorial

PaintFX.biz (2010 - 2011)

Random Rotations (2011) curatorial

Contemporary Internet Lifestyles w/ DIS Magazine (2011)

Genres (2010)

Net Art Archive (2009-2010)

CV

writings

represented by CHATEAU SHATTO!!!!!

PPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPPP.net

Parker Cheeto
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Skype: Tootite4liph
AIM: Tootite4liph
Gchat: Parker.Ito@Gmail.com

 


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I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito.I wonder what Parker’s new paintings are about, and what they will look like. After asking me to write this, he sent me a reference image that I immediately recognized from his most recent solo show, “Parker Cheeto: The Net Artist (America Online Made Me Hardcore)”, with its colorful and light-sensitive play between elements (reminiscent of “The Agony...”) as well as its saturated and seemingly nonchalant juxtaposition of recognizable motifs with illegible content, including typed words and Parker’s handwriting. The idea of these words becoming illegible in the service of one of Parker’s paintings is exciting to me, not discouraging; it makes me want to keep typing forever. His paintings are exciting to me in that they comment in a visually beautiful way on the feelings most of us share now. Our understanding of these feelings is at best ethereal, but our experience of them is infinite in Parker’s work. His paintings are firmly grounded in knowledge of the internet and holocene emotional phenomena. For that reason, he’s no Twombly, but I guess for the same reason you could also argue that Twombly is no Ito. Parker Ito is a net artist. Parker Ito is an Internet artist. Parker Ito is a post-internet artist. .

Hover over me... "Smile"

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