GENEVIEVE FELIX REYNOLDS

MIMIC

EXHIBITION CURRENT TO 27 NOVEMBER 2021

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ARTIST BIOGRAPHY

Genevieve Felix Reynolds employs visual archives to explore contemporary abstractions of time and space. She exhibits regularly in Sydney and Melbourne as well as participating in group exhibitions across the United States. Her work is held in private and public collections across Australia, and has featured on the cover of Art Almanac and Art Guide magazines.

In 2020 Felix Reynolds was a recipient of the William street residency program, and in 2021 the Waverley studio program. She is a 2021 finalist in the NSW Emerging Fellowship, through which she will exhibit at Artspace in 2022. In 2017 she completed a funded three-month residency at Eastside International (Los Angeles).

Felix Reynolds is currently completing her Masters in Fine Arts at the University of New South Wales. She has been invited to pursue visual research in Italy at the Palazzo Monti (Lombardy) in 2022.

ARTIST CV

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EXHIBITION PRESS

 

For Genevieve Felix Reynolds, flattening and abstraction describe the process of painting. Her current body of work, plays on perspective, tricking the eye and prompting viewers to look twice.

Genevieve Felix Reynolds is a collector. Her items of interest range from antique figurines and kitsch crystal dolphins, to thick 1950s museum catalogues and online archives. “I have folders of images,” she says, both digital and analogue. These images are used to make collages, which are in turn used to compose her paintings. The dual use of the analogue and digital is significant, notes Felix Reynolds. “In relation to photography, the computer mimics the darkroom, but each technology forces you to think about composition differently . . . both are processes of flattening.”...

Felix Reynolds’s paintings combine the old and the new, which she says, “mimics my own mixed up folders and archives of images and objects, as well as the way in which I access this visual data online.” Composition with Ancient Fragment, 2021, combines a carved Gandharian schist from the third century with two trompe loeil paintings of images found online: a friend’s Instagrammed photo of a sawfish and Brancusi’s 1941 Bird in Space sculpture. The fish is held by someone just out of frame, and while the shape mimics the elegant curve of Bird in Space, the fish’s horrifyingly sharp “saw” nose extension is at odds with the “bird’s” smooth surface. The background “shelf” resembles an abstract with its off-centre stripe and daub of blue, further complicating the links between the seemingly disparate objects. The combination of these unlikely items recalls the curatorial experiments of Jean-Hubert Martin, who has long sought to challenge traditional museological classification strategies...

 

from ‘Genevieve Felix Reynolds: Abstracting the Archives’ by Lucy Hawthorne in Artist Profile, issue 57, p 52 - 56

Photograph Nicole Wong

EXHIBITION WORKS

CONTACT GALLERY FOR PRICES & AVAILABILITY

 

 

GENEVIEVE FELIX REYNOLDS

 

Composition with Aperture

 

Found and handpainted brick [20th century]

Tomb of Eurysaces the baker [50-20 BC, Rome]

Industrial Chain [2020]

 

2021

oil paint, steel, objects

100 x 71 x 18 cm

 

 

GENEVIEVE FELIX REYNOLDS

 

Composition with Ancient Fragment

 

Carved Gandharan schist [3rd century AD, Pakistan]

A friend's photo of a sawfish [Kimberly, WA, 2014]

Bird in Flight, Brancusi [1941]

 

2021

oil paint, steel, objects

83 x 60 x 16 cm

 

GENEVIEVE FELIX REYNOLDS

 

Composition with chair and colossus

 

Stone bull: Iran, 518-460 BCE

Chair: Eero Saarinen, 1955

 

2021

oil paint, steel

85 x 60 cm

 

GENEVIEVE FELIX REYNOLDS

 

After Rivera, after Minkowski

 

2021

oil paint, steel

70 x 50 cm

 

 

GENEVIEVE FELIX REYNOLDS

 

Composition with Neolithic jar and beads

 

Ceramic [China, 2400 BC]

Lapis Lazuli [ Afghanistan, 2000s]

Sculptural fragment [Rome, A.D. 76–138]

 

2021

oil paint, steel, objects

57 x 40 x 13 cm

 

 

GENEVIEVE FELIX REYNOLDS

 

New Kingdom

 

Crystal dolphin [1990s, Germany]

Silver wine vessel [1279–1213 B.C, Zagazig, Egypt]

 

2020

oil paint, steel, objects

57 x 40 x 13 cm

 

 

GENEVIEVE FELIX REYNOLDS

 

Ornament

 

Castelvecchio Museum detail [1959-73, Verona]

Hand-painted cast iron doorstop

 

2021

oil paint, steel, objects

57 x 40 x 13 cm

 

 

GENEVIEVE FELIX REYNOLDS

 

Mimic

 

Glass choko [1980s, Venice]

 

2021

oil paint, steel, object

37 x 26 x 13 cm

 

EXHIBITION INSTALLATION