One can tell much about Parisot the man from looking at his paintings. Bright colors speak of his fiery temperament, his personal warmth and love of life. Colored paper spilling outside the canvas is a mark of his originality. His art has an improvisatory, spontaneous feel and a joyous quality. Strong angular lines partition the canvas; they may direct the eye outside the canvas. His great generosity is apparent in the way he puts his paintings in the service of music—by selling them not for personal profit, but to build his Cello Enrichment Fund, and on occasion by donating them to other schools or festivals as fund raisers.

The canvases also hint at a long-standing professional interest. His work with line and structure speaks of an interest in design that led him early in life to pursue a degree in architecture. His art has the precision and detail of an architect—he works in acrylic but also uses markers and “Sharpie” pens. His “Rhapsody in Orange,” seems spontaneous and joyous both in the use of the title “rhapsody,” the strong choice of color, and in the rhythm of the art itself. Diagonal lines partition the canvas, but the majority of shapes in the painting are circles or half circles that seem in motion, or free, suspended. Parisot reveals his feeling about the circle in an interview. “There are a great deal of geometric forms and circles in my paintings. I find the circle has a great deal of rhythm and has a great deal to do with music.”

The circle is important in his teaching. “The body has no angles. You must folow the natural laws of the body, and all of the technical problems can be solved. When you shift, what moves first is the back muscle, then the upper arm, elbow, and forearm; the hand is making circles. When you cross the strings you make a little circle. When you move the bow you also make a little circle—you don't do it if you want an accent.”