transforms sheets of plywood into sinuous sculptural forms that seem to defy
her medium’s properties; in her hands, the material literally unfurls. Known
for her deft abilities with plywood, for a new series, aptly titled “un.furl
,” Reynolds adopted a new source of inspiration:
videos of Sufi dancers. “The torques and twists of the sharp edges of their
skirts contrasting with the flow of the body of the dresses, was a rich
visualization of the ecstatic joy of movement,” Reynolds explains. Her delicate
ribbon-like wisps and billowing cones, which currently wind their way along
walls and pedestals at Washington, D.C.’s Addison/Ripley Fine Art
, embody this jubilant energy, while
simultaneously recalling natural elements, particularly leaves.
Mimicking the way leaves
grow, or petals bloom, Reynolds’s weightless forms appear to levitate through a
life of their own; which is by design. “Rather than representations of leaves,
this series describes the process of growth,” she affirms. This approach is
reinforced through a palette of color to contrast with woodgrain, diverging
from allusions to vegetation, through a range a hues, from lavender to black.
For each work, a single plane and its crisp, linear edges, the surface—which in
addition to wood and acrylic, takes on the effects of aniline dyes, white
pickling, and Japan colors—becomes synonymous with form and texture. “These
sculptures are a celebration of life and energy, captured through the fluid
gesture of line and form,” the artist professes. Each work, a vibrant,
harmonious object of celebration, activates its own negative space, while
captivating its beholder.