Her work, a particularly cheerful variant on abstract expressionism, looks to bright colors, often primary, that are merged in forms that are resolutely nonobjective. As a result, we can easily see the ties between her work and the early generations of abstract expressionism, which have influenced Parrilli in her demonstrations of a style that remains fresh, even after decades of precedent. How does the painter accomplish what she does? By merging an unusually fresh color sense with an equally unusual sense of abstracted form.

Blues and reds and yellows and greens dominate her palette; muted earth colors are not part of her expressiveness. As for the forms, Parrilli is given to indeterminate organic shapes, often but not always, woven together by their physical similarity. Often the imagery can resemble flowers or parts of them; as a painter, Parrilli has incorporated the useful recognition that abstraction can in fact be closely connected to nature, the real world, a realization we find in the work of Gorky. We can only praise the intensity of the artist’s color scheme as well as the cohesive organization of work whose intuitive origins are very clear.

In the long run, an artist like Parrilli is to be recognized for her original reading of a tradition much in need of current change. Her luminescent sense of color may be understood as the most important part of her art; it is so strong an attribute of her work that it takes on a structural aspect, something most artists find hard to do. At the same time, we can see that her vocabulary of images looks to a natural world, floral in nature, in which the inherent abstraction evident in flowers, if we move in closely on the detail, the fragment, freed from the ties of realism becomes a subject in its own right.

--Jonathan Goodman

Dellamarie Parrilli has exhibited her work extensively throughout the US, having been the subject of solo and two-person exhibitions at the Palmer Gallery, Chicago; Walter Wickiser Gallery, New York; Ezair Gallery, New York; Marymount College, New York. She has also participated in juried and invitational group exhibitions at the Florence Biennial of Contemporary Art, Florence, Italy; Hunter Museum of Art, Chattanooga, TN; and Cork Gallery, New York. Parrilli is represented in numerous public and private collections including those of DePaul University, Chicago; and Cabrini Medical Center, New York.

As a painter, Tint relies on broad, more or less monochromatic backgrounds, usually embellished by abstract flourishes, whose uncertain outlines result in splotches and blurred forms that contrast with the single color behind them. These may be paintings whose general ambience feels familiar, but the works do in fact establish a formal vision, one close to poetry, that occurs as an independent reading of a popular style. Painterly lyricism is the best way to describe Tint’s art.
--Jonathan Goodman

It is not hyperbole to say that Francine Tint's mesmerizing paintings, with their sensualized surfaces and apparitional effects, involve the viewer in the racial act of beholding and in doing so involve the mind's eye in the erotics of seeing.

The visual erotics in Francine Tint's paintings involve us in a wondrous paradox: these pictures stay on the wall, they are still, unlike the billions of other unfixed images processed and released into the twenty-first century that surround us all day and that leaves us distracted and famished for longer-sustaining soul nourishing fare. Yet Francine Tint's sumptuous, vitalistic paintings, as stationary as they are, in fact do change and respond. The very engagement with them invites a response, setting into motion the reflection of change within oneself.

--Dominique Nahas

Tint's work has been shown extensively both nationally and internationally; and is held in the permanent collections of over 27 museums, including the Portland Art Museum, the Heckscher Museum of Art, and the Krannert Art Museum.

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