John Reynolds

SUMWHR/SUMTIME
2021
1400 x 1000 x 35 mm
metallic marker, acrylic and rainwater on canvas
Courtesy of the artist and Starkwhite
Tāmaki Makaurau Auckland

Estimate: NZD 7,000 — 11,000

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SUMWHR/SUMTIME is Reynolds' self-referential homage to the centrality of Karangahape Road to the life of Tāmaki Makaura. It also succinctly calls to two 2001 projects: Reynold’s solo exhibition Harry Human Heights at Artspace Aotearoa, and K Rd to Kingdom Come: John Reynolds Painting Projects, 1995 – 2001, exhibited at The Govett-Brewster Art Gallery.

The bright-lights big-city vibe of this canvas is ameliorated by the sprinkle of rainwater that activates the surface with a mournful resonance. Reynolds’ work often reaches for the space between text and arrays of pigment as a form of quotation into which meditative narratives can be articulated.

A recent example of such a performative excursion was the 2016 exhibition just down K’Road at Reynolds dealer gallery Starkwhite entitled WalkWithMe which proposed a painter’s response to Colin McCahon’s famous lost weekend in Sydney.

Artist Biography & History
with Artspace Aotearoa:

NB

In 2006, John Reynolds supported Artspace Aotearoa through the production of Bloody Mary, an edition of works on paper.

Exhibited

Harry Human Heights (solo), 2001

Published

SUMWHR was published on the occasion of the exhibitions Harry Human Heights, exhibited at Artspace from 12 June — 28 July 2001, and K Rd to Kingdom Come: John Reynolds Painting Projects, 1995 - 2001, exhibited at Govett-Brewster Art Gallery from 13 October — 2 December 2001. SUMWHR was the first comprehensive publication on Reynolds work, and features essays by Gregory Burke, Dr Markman Ellis and Dr Francis Pound as well as an extended interview between the artist and Robert Leonard, then Director of Artspace.

John Reynolds

 

John Reynolds is a painter who also practices in sculpture, installation and site-specific outdoor works. Reynolds has worked in a variety of fields, collaborating with professionals in architecture, fashion, music, publishing and television.

Reynolds’ practice can be described as a speculative search for an absolute truth, with any aspect of certainty being questionable. Responding to the influx and oversaturation of information in the global 21st century, Reynolds searched through the values and beliefs of multiple cultures and historical periods. His source material ranges from road signs to nets, the titles of 19th century photographs and poetry.

Reynolds explores different types of representation, utilising elements of drawing, sketching, planning and charting to frame expressions, marks, symbols, patterns and writing. He separates realms of inquiry, placing them in counterpoint for dramatic and poetic effect. Reynolds uses the abundance of colloquial phrases to explore how national identity is shaped by sometimes absurd beliefs, thoughts and values.

Reynolds is the recipient of a Laureate Award from the Arts Foundation of New Zealand and a member of the Govett-Brewster Art Gallery Foundation. He has also been a finalist in New Zealand's prestigious Walters Prize Award.