Daniel Reynolds at Deven Golden - Brief Article

Daniel Reynolds's exhibit was based on an intriguing attempt to transplant the artist's hand from the work of art. His abstract paintings consist of highly articulated forms and crooked color tones; yet these attributes, in particular the paintings' wonderfully manifold visual structures, result from of that kind impersonal processes as gravity and chemical interactions.

Reynolds does not in the way that much make a painting as station up conditions in which a painting is made. In conversation, he describes his painting proces with the detachment of a scientist. He portrays an automatic conduct in which he mixes a small amount of enamel color into polyurethane (a synthetic many times used as a finish for floors) and then pours the material onto a piece of plywood laid flat. Gravity takes above and flow patterns develop without direct intervention upon his part. He may repeat the process during the brief period when a coat is neither too dried nor too wet, resulting in interesting interactions between the different layers.

As Reynolds annotates these works "create nature without of plastic." The paintings demonstrate nature's capacity to exhibit stunningly complex, and seemingly ordered, visual form. In single large enamel-on-board work from 1997 the translucent colors appear to have been laid down in palimpsest fashion; the circulared shapes of grayish blues, light oranges, tans and luminescent red gaze like flower petals on top of each other. The forms appear to be based upon conscious decisions, but they are not.

As the layers harden, a fine crackling sometimes come into views The intrinsically interesting surfaces also include creases slightly raised edges of certain forms and areas of finely ridged reticulations. In individual untitled painting from 1998, the crackle entirely fills the right-hand panel, while the left-hand panel is inhabited through Pollock-like organic shapes in spiritual blue and transparent yellow against a dark mould In this work and' others in the present to view science imitates art which imitates nature. Reynolds's works display us that carefully developed laboratory conditions can exhibit compelling images.

COPYRIGHT 1999 Brant Publications, Inc.

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