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Robin Reynolds

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Biography

Robin Reynolds creates luminous paintings that are personal, yet parallel to the light, rhythms and feel of nature. In small patches of branches, and in views of intimate slices of landscape, she finds in the outer world what she wishes to investigate that allows her to illuminate her own inner nature. The results are mysterious, yet glowing harmonies of shapes, lines, colors and spaces that speak of both a real and an inner world.

Over the past ten years, Reynolds has developed a unique approach. She sets up her easel outdoors in a carefully chosen location – often in Deer Isle, Maine - where she looks into a woods, or up through the trees at the sky, or into a tidal pool. She finds just the right amount of information to inspire her yet does not call out for literal depiction. The image seems familiar, yet retains its mystery. The space seems deep, yet there is never a hint of perspective. There are no easy hooks into her paintings. She has eliminated scenic; she has minimized the effects of light on objects; and she has resisted using the organizational tool of the horizon. Reynolds achieves luminosity by carefully applying several layers of thin and thicker oil paint so that the white of the gessoed surface, as well as the luminosity of the oil paint itself are both maximized. Her choice of colors, carefully considered and applied with her sensitive and confident touch, produce a harmony and a light that is like great music.

Her brushstrokes reveal the movement of the hand, and also the thoughts and decisions which prompt the physical aspect of painting. The movement of the hand also seems to be in a direct line to her inner emotions. Her marks are loose and yet confident; careful, yet full of accidents; expressive yet not overtly expressionistic; full of spirit, yet not obviously spiritual. Robin Reynolds has created a world passionately devoted to her discoveries of nature and at the same time, passionately committed to inventing a realm of her own.

                                                                                                Jon Imber, June 2010