His paintings incorporate calligraphy into pictures that resemble distressed city walls. Art historian Michael Betancourt divided his paintings into three categories: walls, diaries, and pictures. Walls are mural sized, diaries are smaller than walls, heavily filled with writing, and resemble a palimpsest. Pictures are the size of traditional paintings, but their visual contents resembles the walls but without the scale.[3] “What Parlá’s work provides to its viewers is a way to re-see the city and re-engage the value of urban life.”[4]
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