R E YN O L D S F I N E A RT presents
Small Works 2016 G en e He a l y, P ai ge B e rg R izvi , Fau stin Ad e nir a n, K at O ’ Conno r, R a ndy R ic ha rd s
For inquiries please contact:
Reynolds Fin e Art 96 Orange Street New Haven, CT 06510 203.498.2200 info@reynoldsfineart.com
www.reynoldsfineart.com
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Kat O’Connor As a painter, I revel in the idea that water replaces the traditional model's pedestal. Gravity is removed, and the figure can be viewed at unusual angles. Foreshortening of the figure becomes common, hands and feet moving forward, no longer encumbered by the need to support the weight of the body. My current paintings deal with the figure in water. They are not portraits, but studies in which solitude is solace. Water and light become buffers, allowing the viewer to stand outside the subject, to watch from the protected darkness, the way we view film. We become voyeurs to these moments, when the subject is surrounded by water, encased in it, needing air and light. Until we have taken that first gulp of air upon surfacing the outside world does not exist. Water becomes a metaphor for painting.
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Kat O’Connor I Feel the Need to Desire Now, 2016 Conte, graphite, and ink on paper 30” x 22”
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Kat O’Connor Twist, 2011 Oil on linen on board 12” x 12”
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Kat O’Connor Quiet Information, 2012 Oil on board 15” x 15”
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Kat O’Connor Up, 2013 Oil on board 8” x 8”
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Kat O’Connor Rise, 2011 Oil on linen on board 12” x 12”
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Gene Healy I am an abstract painter. However, I don’t stray far from objective reality when I try to evoke a sense of place in my work. My paintings are often subjective interpretations of different areas along the New England shoreline. Although historically important painters have been influential in my life (there are many), music has also been a source of inspiration in my work. For those artists who paint, colors are our musical notes. And as with music, paintings are also composed. Literature, poetry, movies, photography, indeed all art, relies on composition to articulate the mysteries that connect the audience to a work of art. It’s all the same regardless of the medium. All artistic self-expression is positive, no matter what the medium. Finishing a work of art (knowing when to stop) is the destination all artists want to reach. Getting there can be especially challenging for abstract artists who often travel less charted territories. Incidentally, how one arrives makes no difference at all.
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Gene Healy East Wharf Mixed media on canvas 31” x 20 ¼”
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Gene Healy Nantucket Mixed media on canvas 32” x 17”
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Gene Healy Pilots Point Mixed media on canvas 29” x 12”
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Gene Healy West Wharf Mixed media on canvas 20” x 24”
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Gene Healy Quabin Mixed media on canvas 28” x 16”
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Randy Richards My current style of art is a result of many years of dedication and technology advancements that originated as paintings from tiny doodles in 2003 and has since developed into digitally assembled photos from 2008 - Present. I combine 2-3 different photos of the same scene taken at different times of the day or year using the cube as a device for assembly. The cube emerged out of my subconscious and is represented in many sketches/doodles made during corporate meetings in the 2000s while taking notes as global creative director at Stanley Black & Decker. Being responsible mostly for 3D packaging had a huge influence on my subconscious and fine art. Monet's paintings of the same scene at different times of day have always intrigued me and influence my style greatly. I try to establish a strong sense of space, light and a 3D reality that makes you feel you can step right into the cubes and enter a new dimension. Most recently, in 2016, I began adding paint textures from a brush and paint roller to soften the hard cube edges with a painterly feel and added an esthetic quality.
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Randy Richards Winter Lawn 1 Mixed media 36” x 24”
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Randy Richards Patio Snow Shadows Mixed media 36” x 24”
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Randy Richards Seaweed Rocks Mixed media 36” x 24”
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Randy Richards Winter Waves Mixed media 36” x 24”
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Randy Richards Winter Waves 2 Mixed media 36” x 24”
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Paige Berg Rizvi In my paintings, I try to capture the mystery that breathes behind symbolic place - memories, whether real or imagined, universal or personal. Each painting begins from an unlikely source—a paperback AAA Road Atlas, now as foreign to us as the rotary phone. Maps of real-life American towns are collaged and embedded within infinite layers of encaustic, along with origami paper, oil paint, and representational imagery. I approach each map as a drawing object, using roads and rivers as lines, and mountains, forests, and cities as washes of color. The title of each painting is born from a symbolic place name existing in the reinvented map. This wordplay is contextualized further through the composition of imagery in each work. Whether birds, houses, planes, or food, I utilize repetition as a thematic reinforcement of the symbolism contained within. To achieve both visual immediacy and underlying complexity, I have created my own hide/reveal approach to working with the encaustic medium resulting in ultra-smooth surfaces and an intriguing depth, at times similar to staring into a pool of water. The thick wax envelops some of the images like a fog, blurring them in various ways, as if softened through memory and distance. Conversely, many elements are raised in relief or deeply carved out of the wax surface. Capitalizing on encaustic’s unique luminous quality is an essential part of my work.
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Paige Berg Rizvi Green Bay to Midway Encaustic, origami paper, and road map on wood panel 16” x 20”
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Paige Berg Rizvi Scott City Encaustic, oil, and archival inkjet prints on wood panel 6” x 6”
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Paige Berg Rizvi Bumblebee Encaustic, oil, and origami paper on wood panel 14” x 11”
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Paige Berg Rizvi Casa Grande Encaustic and origami paper on wood panel 24” x 12”
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Paige Berg Rizvi Black Lake Encaustic and origami paper on wood panel 24” x 18”
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Faustin Adeniran I am a contemporary artist from Nigeria. At an early age, I developed a vivid interest in making art and discovered my own artistic abilities and creativity. I immersed myself in drawing, painting, and experimenting with different media. Deep observation of society as an artist provoked me to create art with materials that would otherwise be considered trash or recyclable. My current work is made particularly with aluminum soda cans. These materials have awakened and challenged my limits of creativity to produce works that reflect our society and its mystic truths.
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Faustin Adeniran Togetherness Aluminum on panel 13” x 17”
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Faustin Adeniran Beautiful Imperfection Aluminum on box guitar 30” x 18”
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Faustin Adeniran Society Series 1 Aluminum on panel 12” x 10”
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Faustin Adeniran Society Series 2 Aluminum on panel 10” x 12”
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Faustin Adeniran Society Series 3 Aluminum on panel 8” x 12”
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