a joint exhibition by Ray Reynolds & Olivia Keith
Jonny Angel 2010-12
260cm h x 88cm w x 66cm d
Willow, straw, metal, rope,
"accreted" maccabean leaves
from Furzey, rose-stems
holly leaces from "The First"
What Olivia calls reportage is hardly straightforward illustration. Either monochrome or subtly coloured, it has aspects of cubism, with multiple, time-lapsed views of a happening which melt into a single frame. This is partly dictated by her choice of subject in this field: mostly outdoor cultural / activity events (two recent examples being a pony meet and the New Forest Show).
La Cumparsita — Tango 2012
c.25cm diam. [record-player not
part of sculptural piece]
78rpm record, paper pulp & rose-stems
£90 framed 8 other variants of this
Her recent making of Daily Paper, a sequence of 365 pieces of ephemera documenting her life with debris of the day, has spawned a series of low-relief paper- & object- castings over old 78rpm dance records relating to each disc’s music. Being mostly tinted whites, and inevitably relating to each other, they have a meditative, almost devotional effect, possibly unintended (not that this latter point would concern her: humility to the making process is part of her make-up; for us, this is another creative gold star). Seen and Felt features their first airing.
Olivia shows and appears UK-wide: a recent high-profile exposure was a HUGE (113m / 370ft) series of murals for Chris Beardshaw’s Urban Oasis at Hampton Court Garden Show.
Daily Paper 2011 – 12 hanging-frame: 90 h × 66 w × 24cm d 365 hand-made papers c.10cm sq. NFS
Northumbrian Pipers, Mompesson House 2007 120cm sq. charcoal on canvas £750 framed
Cooper and Bolton 2007 120cm sq. charcoal on canvas £750 framed [not in exh.]
Digging Chris Beardshaw's Site, Chelsea Flower Show 2012 60 × 80cm mixed media on canvas £195 unframed
Mellstock Band 2007 120cm sq. charcoal on canvas £750 framed [not in exh.]
Moscow Drug Club on the Garden Stage 80 × 60cm mixed media on canvas £195 unframed
[MDC is the band's name!]
Aberdeen Angus 60 × 80cm charcoal on canvas £195 unframed
Rosie and Queenie (Jersey Cattle), New Forest Show 2012 60 × 80cm mixed media on canvas £195 unframed
Temple Installation, Larmer Tree Festival 2012 80 × 60cm mixed media on canvas £195 unframed
Protecting the Lawn, Larmer Tree Festival 2012 80 × 60cm mixed media on canvas £195 unframed
Sunday Before Opening, Chelsea Flower Show 2012 80 × 60cm mixed media on canvas £195 unframed
[That's Chris Beardshaw, in the middle, with his arms folded; a Chelsea Pensioner looking around the place, in the red uniform: the event takes place in the grounds of Chelsea Hospital]
Erection of the Main Stage, Larmer Tree Festival 2012 80 × 60cm mixed media on canvas £195 unframed
Primitive Sheep, New Forest Show 2012 60 × 80cm mixed media on canvas £195 unframed
Find out more, including her blog, at: OliviaKeith.co.uk
RAY REYNOLDS was raised in Dorset and graduated in 2001 from the University of Chichester, where her interest in textiles was fired in earnest. She is inspired by the landscape of Hampshire and the Solent, especially the intense colours of low-tide saltmarsh. She favours felt (which she makes herself — a practice she also teaches) because it is so easy to manipulate. Many pieces are based on it, usually worked over with other materials, building up layers of threads embroidered, by hand and machine, into a painterly mêlée of light, textures, illusion and colour. Although her works are not about the identifiable ‘look’ of a place, most of the locations have a personal significance. In reflecting these places which are special to her, she is evoking her memories of them, rather than aiming for topographical accuracy.
Unlike Olivia Keith, Ray Reynolds has no artistic ethos about her materials: in common with Olivia, though, she is a recycler, secreting disused fabrics and old clothes (e.g. a colourful disused sari) into some of her works — “nothing goes to waste” she says.
Her series of small worksThe Solent Way, being premiered in Seen and Felt, is the culmination of Walking Stitch, a larger long-running project about the 60-mile footpath from Keyhaven to Emsworth, which (over a period) she has walked in its entirety. She has made a mini concertina-booklet reproducing all 16 images, copies of which are available at the exhibition.
Since we’ve met Ray and watched her work develop, we’ve become more aware of how much textile- and felting- practice goes on in our travel- (and cultural) sphere. In her field, she is one of the best practitioners we’ve come across. One particular strength is her handling of illusional distance: many works need a disproportionally long viewing-distance to get their full impact, though (as can be seen from the detail-shots on this page) their textures and hand-work certainly reward close inspection, too.
Keyhaven Panorama 2007 25.5 × 99cm [17.5cm max. dimension across fabric] mixed stitch on felt / fabric £290 unframed
Shadows on the Water 2012 c.65cm sq. mixed stitch on felt £320 unframed
[detail of] Shadows on the Water, showing irregular shape of surface
[this effect has been altered since photographing the piece, and it's now less wavy]
" and the rain came down" 2012 47 × 97cm mixed stitch on felt / fabric £660 unframed
Walking Stitch: The Solent Way 2012 15.5cm sq. each mixed fabric-based media on felt £75 each / £135 for 2 / £180 for 3. No.4 [top right] NFS; No.13 [btm left] Sold
Tower Blocks and Boats (Weston), one of the individual pieces from "The Solent Way"
Yellow 2012 40.5 × 60cm mixed stitch on felt / fabric £300 unframed
Golden Hour 2012 36 × 26.5cm felt
From Langstone to Portsmouth 2012 20 × 34cm mixed stitch on felt
Shadow of the Breakwater 2012 23 [max.] × 32.5cm mixed stitch on felt
See more about Ray Reynolds and her work at: TextileCabin.co.uk
Back to First Gallery Home Page