Page 1

Allyson Reynolds from soil and stone


Allyson Reynolds from soil and stone Essay by Daniel MafĂŠ


allyson reynolds from soil and stone First published in Australia in 2011 by artHIVES 85 Doggett Street Newstead, Queensland 4006 www.arthives.com info@arthives.com Copyright 2011 © artHIVES holdings PTY LTD Text Copyright 2011 © Daniel Mafé Images Copyright 2011 © Allyson Reynolds www.allysonREYNOLDS.com ISBN 978-0-9871970-2-3 Printed in USA All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior consent of the publisher. title page image from soil and stone 13 (detail) 2011 ink on paper 19 x 14 cm dustjacket front image from soil and stone 7 (detail) 2011 ink on paper 19 x 14 cm dustjacket verso image from soil and stone 17 (detail) 2011 ink on paper 19 x 14 cm


contents

9

A Material Reverie by Daniel MafĂŠ 12

from soil and stone


A Material Reverie Daniel Mafé

But when I lean over the chasm of myself it seems my God is dark and like a web: a hundred roots silently drinking – Rilke from soil and stone is a work consisting of fifty drawings on paper organised in a grid. Each drawing is small, only 19 by 14 centimetres, and set out in portrait format. They each reference, either explicitly or abstractly, natural phenomena. These include plant forms, pollens, seeds, pods, and leaf shapes and each is painted with a dizzying and liquid array of techniques and technical finesse. Colour is used sparingly but tellingly, and all are generously and wetly composed, with each seeming to flow into the necessary rightness of composition. Within the overall work the feel is sometimes of the archive, a personal kind where pressed flowers are stumbled upon within a book. At other times they seem to image the stellar as one confronts the immensity of some planet suspended in the void. Again, as a recurring theme in Reynolds’ oeuvre, the notion of the taxonomy is sounded. The drawings are laid out to display difference and reveal through contrast essence. It is a mapping that illuminates a generous plentitude. In the heart of matter there grows an obscure vegetation; in the night of matter black flowers blossom. – Bachelard At work in these drawings there is a strongly actualised sensitivity, for Reynolds is nothing if not an artist of sensibility, an explorer par excellence of fluid suggestion. To look into a work by Reynolds, one is taken into a visual space predicated on the evocative. Nothing is or can even be quite as it seems. We are instead given presentiments to work with. And from these clues we must, as an oracle, draw on our selves and our imaginings to build more complete meanings.


From the earth of hard rock and soft mud, fragile breaths that bloom green and long, adorned and flowered, drift upward, sotte voce. As an ensemble these works echo as thoughts, mixed with the deep resonant hums that emanate from the hulked, slowthought of ancient massings. These are reveries of vegetative life and speaking stone. As images they embrace the night; the night of the material imagination. Matter is dark, unilluminated by the quicksilver everyday thought. In the drawings, painted in a flood of liquid ink, images emerge magically, luminously pale as the moon. Some are reminiscent of seeds, leaf and grass forms, others reference rock and still others lay suspended in an abstract world of mysterious gesturings or markings, seemingly allusive of growth and flowering. Conceived in nature the drawings are birthed in the studio, away from their germinating sources of inspiration. These images are then, found in the matter and material processes of their making. Paper is soaked and ink poured, to be flooded with water, and sometimes with colour; all is animated and surrendered to in the spirit of a profound giving. This work is animist in spirit, the drawing throbs with its own imaginings. In the work of Reynolds, nature lives, thinks and breathes and all is consciousness, all is alive, each offering and sharing itself with itself and with others. For the root, the darkest earth … is also a mirror, a strange opaque mirror which doubles every aerial reality with a subterrranean image. – Bachelard This work speaks of hidden things, the root of things, their birth and realisation deep within the creating mind. These works, with their dark and liquid spaces murmurously riddled with a breaking light, invite even demand reverie for entrée. These are dreaming images, imagining images - these are images that coerce and demand imaginative engagement. This engagement is of creative mirroring, one that reflects Reynolds’ processes of making where images are conjured, and in that moment of realisation, assume a rightness of placement and articulation within the world they so magically reflect. I mentioned the work’s similarities to a taxonomy, where


differences are listed and compared but maybe it is more accurate to describe the particular assemblage work as an ecology. Each individual work presents differently: different shapes, textures, references, luminosities and techniques. As a whole from soil and stone maps or even creates a world, visible in much the same way as when we peer intently into grass or a rock pool or pond. The longer we look the more we notice. It details that which emerges from the dark of the earth pointing to the mysterious happenings that occur within and emerge from this unknowable space. Images are primary psychic realities. In experience itself, everything begins with images. – Bachelard Each drawing is complete unto itself and taken as a whole, as already mentioned, is a taxonomy, but also a list, an ecology, a tapestry, a quilt, it is a book, a journal which pictorially notes, remarks, comments. As a whole it is replete of dark that is unknowable metaphors, pictorial in form but endlessly generative of a poetry, a continual exhortation to dreaming. There is, it seems, no other way to look with this work for it is not to be looked at like some discrete object, but rather it asks to be looked with. It asks for our looking to accompany the work in its unfolding. In this way it speaks to the dark mirror of our heart - that place so redolent and so saturated with feeling and so full of the most profound unknowing. For to unknow, is to be born again, to see afresh. Matter is dreamed and not perceived. - Bachelard We see in the sheer materiality of these drawn works a generation suggestive of image. Like plumes of breath on a cold day, each image births anew a wondering. As we attune to and quieten in our looking at these works, we are immediately in a position to open to the release of thought and associative dreaming necessary to access the generative core of this work. Once there we share the powerful creative dreaming of the artist, who now through us the viewer, performs and reinvents the very act of dreaming into being the world. In the dark unknowing of the earth, through the dark mirroring of Reynolds art, we are granted the gift, even if only for a moment, of seeing anew. D.M. 2011


from soil and stone 1 2011 ink on paper 19 x 14 cm


from soil and stone 2 2011 ink on paper 19 x 14 cm


from soil and stone 3 2011 ink on paper 19 x 14 cm


from soil and stone 4 2011 ink on paper 19 x 14 cm


from soil and stone 5 2011 ink on paper 19 x 14 cm


from soil and stone 6 2011 ink on paper 19 x 14 cm


from soil and stone 7 2011 ink on paper 19 x 14 cm


from soil and stone 8 2011 ink on paper 19 x 14 cm


from soil and stone 9 2011 ink on paper 19 x 14 cm


from soil and stone 10 2011 ink on paper 19 x 14 cm


from soil and stone 11 2011 ink on paper 19 x 14 cm


from soil and stone 12 2011 ink on paper 19 x 14 cm


from soil and stone 13 2011 ink on paper 19 x 14 cm


from soil and stone 14 2011 ink on paper 19 x 14 cm


from soil and stone 15 2011 ink on paper 19 x 14 cm


from soil and stone 16 2011 ink on paper 19 x 14 cm


from soil and stone 17 2011 ink on paper 19 x 14 cm


from soil and stone 18 2011 ink on paper 19 x 14 cm


from soil and stone 19 2011 ink on paper 19 x 14 cm


from soil and stone 20 2011 ink on paper 19 x 14 cm


from soil and stone 21 2011 ink on paper 19 x 14 cm


from soil and stone 22 2011 ink on paper 19 x 14 cm


from soil and stone 23 2011 ink on paper 19 x 14 cm


from soil and stone 24 2011 ink on paper 19 x 14 cm


from soil and stone 25 2011 ink on paper 19 x 14 cm


from soil and stone 26 2011 ink on paper 19 x 14 cm


from soil and stone 27 2011 ink on paper 19 x 14 cm


from soil and stone 28 2011 ink on paper 19 x 14 cm


from soil and stone 29 2011 ink on paper 19 x 14 cm


from soil and stone 30 2011 ink on paper 19 x 14 cm


from soil and stone 31 2011 ink on paper 19 x 14 cm


from soil and stone 32 2011 ink on paper 19 x 14 cm


from soil and stone 33 2011 ink on paper 19 x 14 cm


from soil and stone 34 2011 ink on paper 19 x 14 cm


from soil and stone 35 2011 ink on paper 19 x 14 cm


from soil and stone 36 2011 ink on paper 19 x 14 cm


from soil and stone 37 2011 ink on paper 19 x 14 cm


from soil and stone 38 2011 ink on paper 19 x 14 cm


from soil and stone 39 2011 ink on paper 19 x 14 cm


from soil and stone 40 2011 ink on paper 19 x 14 cm


from soil and stone 41 2011 ink on paper 19 x 14 cm


from soil and stone 42 2011 ink on paper 19 x 14 cm


from soil and stone 43 2011 ink on paper 19 x 14 cm


from soil and stone 44 2011 ink on paper 19 x 14 cm


from soil and stone 45 2011 ink on paper 19 x 14 cm


from soil and stone 46 2011 ink on paper 19 x 14 cm


from soil and stone 47 2011 ink on paper 19 x 14 cm


from soil and stone 48 2011 ink on paper 19 x 14 cm


from soil and stone 49 2011 ink on paper 19 x 14 cm


from soil and stone 50 2011 ink on paper 19 x 14 cm


Allyson Reynolds

www.allysonreynolds.com

Education 1989-91 Bachelor of Arts, Visual Arts, Queensland University of Technology, Brisbane. Employment

1991-93 Coordinator, The Butterfactory Studio and Contemporary Art Space, Dayboro, Queensland. 1993-.... Co-founder and Co-director, Doggett Street Studio, Brisbane, Queensland. Gallery representation Doggett Street Studio, Brisbane, Australia Rebecca Hossack Gallery, London, New York and International Art Fairs

Individual exhibitions 2012 2010 2009 2008 2008 2007 2006 2004 2003 2001 1999 1998 1997 1995 1992

‘moth song’, Rebecca Hossack Gallery, London. ‘returned works’, Doggett Street Studio, Brisbane. ‘film’, Doggett Street Studio, Brisbane. ‘film’, Museum of Brisbane. ‘score for imagined sound’, Doggett Street Studio, Brisbane. ‘pneuma’, Doggett Street Studio, Brisbane. ‘Nocturnus’, Doggett Street Studio, Brisbane. ‘Scale’, Doggett Street Studio, Brisbane. ‘Lepidopterae’, Rebecca Hossack Gallery, London. ‘From Moths’, Doggett Street Studio, Brisbane. ‘Millaa Millaa’, Doggett Street Studio, Brisbane. ‘Ink’, Doggett Street Studio, Brisbane. ‘Paintings’, Doggett Street Studio, Brisbane. ‘Drawings’, Doggett Street Studio, Brisbane. ‘First Solo Show’, The Butterfactory Studio and Contemporary Art Space, Dayboro.

Selected group exhibitions 2011 2011 2011 2011 2011 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2010 2009

The Afforable Art Fair Singapore, 17 - 20 November. Art Melbourne, 19 May - 22 May. The Affordable Art Fair New York, 5 May - 8 May. The Affordable Art Fair London, 10 March - 13 March. London Art Fair, 19 January - 23 January. ‘30 SQUARE - Christmas 2010’, Doggett Street Studio, Brisbane. Art Sydney, 11 November - 14 November. The Affordable Art Fair New York, 6 May - 9 May. Glasgow Art Fair, 25 March - 28 March. Art Toronto, 28 October - 1 November. The Affordable Art Fair, London - 21 October - 24 October. Art London, 7 October - 11 October. The Affordable Art Fair New York, 29 September - 3 October. 20/21 British Art Fair, 15 September - 19 September. Utrecht Open Art Fair, 8 September - 12 September. The Henley Festival, 7 July - 11 July. San Francisco Fine Art Fair, 21 May - 23 May. ‘Points of View: Contemporary Landscapes’, Kickarts, Cairns.


2008 ‘30 SQUARE - Christmas 2008’, Doggett Street Studio, Brisbane. 2007 ‘30 SQUARE - Christmas 2007’, Doggett Street Studio, Brisbane. 2007 Royal Over-Seas League Scholars Exhibition, 5-21 October 2007, the.gallery@oxo, London. 2006 ‘30 SQUARE - Christmas 2006’, Doggett Street Studio, Brisbane. 2005 ‘Christmas 2005’, Doggett Street Studio, Brisbane. 2005 Toronto International Art Fair, 3 - 7 November. 2005 ‘Lingua Franca’, Arc Biennial, Brisbane City Hall, 28 - 30 October. 2005 AAF Contemporary Art Fair New York, 27-30 October. 2005 20/21 British Art Fair, Royal College of Art, 14-18 Sep. 2005 ‘The Insectary: Walking with Bugs and Insects’, Redland Art Gallery (In association with the Queensland Museum), 20 March – 3 May. 2005 Affordable Art Fair - Battersea - Spring, London, 17 - 20 March. 2005 ‘Object/Subject’, Museum of Brisbane, 18 February - 8 May. 2005 London Art Fair, 19 - 23 January. 2005 Palm Beach Contemporary Art Fair, Florida, 13 - 19 January. 2004 Gold Coast City and Conrad Jupiters Art Prize. 2004 The Affordable Art Fair New York City , 28 - 31October. 2003 ‘Christmas 2003’, Doggett Street Studio, Brisbane. 2003 Toronto International Art Fair, 13 - 17 November. 2003 The Affordable Art Fair New York City, October 30 - November. 2003 The Affordable Art Fair, London - Autumn Collection, 9 - 12 October. 2002 ‘Christmas 2002’, Doggett Street Studio, Brisbane. 2002 20/21 British Art Fair, The Commonwealth Insitute, London. 2002 Art London - International Art Fair, Duke of York Barracks, Chelsea. 2001 ‘Christmas 2001’, Doggett Street Studio, Brisbane. 2001 Gold Coast City and Conrad Jupiters Art Prize. 2000 ‘Christmas 2000’,Doggett Street Studio Christmas Exhibition. 1998 ‘Nature’, Cooloola Shire Public Gallery, Gympie, Queensland. 1997 ‘The Big Deal’,Doggett Street Studio Christmas Exhibition. 1997 ‘The Alice Prize’, Araluen Centre for Arts and Entertainment, Alice Springs, Northern Territory. 1997 ‘fields of vision’ eight queensland artists, Cairns Regional Gallery, Cairns. 1996 ‘on paper in practice’ (an exhibition by 16 artists from Indonesia, The Philippines, Vietnam and Australia) , Doggett Street Studio, Brisbane. 1996 ‘one hundred: a survey of the first 100 exhibitions’, Doggett Street Studio, Brisbane. 1995 Doggett Street Studio Christmas Exhibition. 1995 Doggett Street Studio at Magazine Space, Pier 9, Brisbane. 1995 ‘Landscape’, Doggett Street Studio, Brisbane. 1994 ‘Years Finale, Christmas Show and Match Box Project’, Doggett Street Studio. 1994 ‘One Year- Selected works celebrating the first year of Doggett Street Studio’. 1993 ‘The Last Show Down’, The Butterfactory Studio and Contemporary Art Space. 1993 The Butterfactory Studio and Contemporary Art Space at Magazine Space, Pier 9, Brisbane. 1992 ‘Potential Space : The Butterfactory Touring Initiative’ :Warwick Regional Art Gallery; The Butterfactory; Pine Rivers Council Chambers; Toowoomba Regional Art Gallery. 1991 ‘Women’s exhibition’, The Butterfactory Studio and Contemporary Art Space. 1991 National Graduating Students Exhibition, Perth Institute of Contemporary Art, Perth . 1991 First National Student Art and Design Exhibition, Royal Exhibition Building, Melbourne. 1991 ‘9 Brisbane Artists- Sources and Outcomes’, The Butterfactory Studio and Contemporary Art Space.


Scholarships 2006 Royal Overseas League visual arts travel scholarship, which funded a residency at Hospitalfield House in the town of Arbroath, Scotland. 1992 Melville Haysom Memorial Art Scholarship, Queensland Art Gallery. Awards

2003 2003 2002 1997 1993

Painting Prize, Pine Rivers Art Award. Rotary Art Award. Painting Prize, Pine Rivers Art Award. Warwick Art Prize. Painting Prize, Pine Rivers Art Award.

Public Collections

• University of Queensland Art Museum. • Artbank, Sydney. • Warwick Art Gallery. • Cairns Regional Gallery.

Corporate Collections • Queensland Cement Limited. • Wesley Hospital Art Collection. • Ernst and Young, Brisbane. • Sheraton Hotel, Brisbane. • Combined Rotary Clubs of Brisbane. • Firmdale Hotels, Number Sixteen, London. • Brown-Forman, Louisville, Kentucky, USA. Selected Publications • Allyson Reynolds, moth song (2011) including essay ‘Of repetition and of song’ by Daniel Mafé, published by artHIVES, ISBN 978-0-9871970-1-6 • Brown, Phil (2006) ‘Overnight sensation’, Brisbane News, 5-11 April 2006, p 25 • MacDermott, Kathy (2002) ‘Galleries galore’, Australian Financial Review, 1 August 2002, p 56 • Butler, Sally (1998) ‘Doggett Street Studio’, Australian Art Collector, Issue 5, July - September 1998. • Stanford, Leonie (1998) ‘Doggett Street Studio’, The Review Independent Monthly, February 1998. • Tiffin, Sarah (1997) ‘Tradition and Transition’, Fields of Vision, exhibition catalogue, Cairns Regional Gallery. • Seear, Lynne and Ravenswood, Kate (1996) ‘on paper, in practice’, Doggett Street Studio exhibition catalogue. • Seear, Lynne (1996) ‘Doggett Street Studio: an overview’, Doggett Street Studio exhibition catalogue. • Ravenswood, Kate (1992) ‘Potential Space: The Butterfactory Touring Initiative’, a Butterfactory exhibition catalogue. • Ravenswood, Kate (1991) ‘Sources and Outcomes’, Eyeline, No.15 pp. 28-29.


Allyson Reynolds is represented by Doggett Street Studio 85 Doggett Street Newstead, Queensland, 4006 Australia T +61 7 3252 9292 www.doggett.com.au info@doggett.com.au Rebecca Hossack Gallery 2a Conway Street, Fitzroy Square, London W1T 6BA, UK T +44 0 20 7436 4899 F +44 0 20 7323 3182 28 Charlotte Street, Fitzrovia, London W1T 2NA, UK T +44 0 20 7255 2828 F +44 0 20 7580 2828 262 Mott Street, New York, NY 10012, USA T (212) 925-3500 www.r-h-g.co.uk info@rebeccahossack.com Design and Layout: S. Whitaker, artHIVES www.arthives.com Font: Corbel www.allysonREYNOLDS.com


for purchasing information visit www.allysonreynolds.com


Allyson Reynolds - from soil and stone  

The drawings in this series focus on Allyson Reynolds’ continued exploration of found objects and microscopic images. They draw inspiratio...

Read more
Read more
Similar to
Popular now
Just for you