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James Reynolds
             Born 1974                                                                                                                     JAMES  REYNOLDS  graduated  with  a  BA  (Hons)  Fine  Art  Painting  in  1997  after  having  studied  at  Leeds  Metropolitan
                                                                                                                                           University and Complutense University of Madrid in 1996 (as part of an ERASMUS exchange programme). Soon after
             Lives and works in London, UK                                                                                                 leaving University, James completed an Artists-in-Residence tenure with Artescape Trust, Lincolnshire - a residency which
             www.jhtreynolds.com                                                                                                           is aimed at allowing recent graduates to continue in their development at the beginning of their career. James has
                                                                                                                                           participated in a number of group exhibitions including; Northern Graduates Exhibition, Curwen Gallery, London, UK
             James Reynolds is an artist infl uenced by fi gurative aspects as a way of exploring often personal concerns through a         (1997),  Artescape Exhibition, Greenstone Gallery, De Montfort University, Lincoln, UK (1998), Confl ict and  Resolution,
                                                                                                                                           La Galleria, London, UK (2011), Then and Now, Royal Opera Arcade Gallery, London, UK (2012) and Works on Paper,
             process of painting. The fi gures and spaces in his work are anonymous, as if there was a fl eeting glance at something        Espacio Gallery, London, UK (2013).
             or someone, which then leaves a vague reference. He is interested in making work that is pushed to abstraction but
             which retains a recognisable element to pull the work back, creating a friction between the two.
             March Number 1 and March Number 2 form part of an as yet unfi nished series of paintings that are concerned with
             the process and development of the painted portrait. Each is anonymous and not a classic representation of the
             'portrait', though the traditional elements are evident throughout the painting’s execution.
             More recently, James’ work has retained the fi gurative aspects that primarily hold interest for him, employing more
             observational  drawing  and  relying  on  the  repetition  of  painting  to  fi nd  and  ‘describe’  the  image.  His  painting   Above: March Number 1, 2013, Oil on Board.
             practice is often quite spontaneous, with the challenges of drawing, colour and composition being worked out on               h: 44cm w: 51cm d: 5cm, Location.
             the surface. This, for him, gives the work a history and narrative with the glimpses of previous marks and colours that
             lend a sense of both frustration and resolution.                                                                              Left: March Number 2, 2013, Oil on Board.
                                                                                                                                           h: 40cm w: 54cm d: 4cm, Location.







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