Parker’s art historical background undoubtedly informs her subject matter and the aforementioned customary objects are, upon first glance, the focus of the work. But with closer inspection, the primary subjects are decentered by unexpected elements and become mutable, fluid aspects of the entire image. This process of decentering is an integral part of each image. Take Falcon with Bells (2012), for instance. The falcon is the ostensible focal point of the image; Parker shows a hyperreal representation of the bird standing atop what appears to be an oxidized piece of glinting metal, its feet and talons wrapped in leather and bells. The background of the photograph is entirely out of focus, filled with shadows and fuzzy sunset gradient, a mysterious swipe of green and orange in one corner, inexplicable halos of red pigment in two others. A single white feather floats in the middle of the painting, above the falcon. The feather captures our attention as an anomaly within the image, leading us to question the verity of the photograph, and implying an ambiguous and surreal narrative in which the falcon is equated with the feather and the abstract background.