Abigail Reynolds ROKEBY contemporary Art London    
There will be a screening and discussion between Abigail Reynolds and Ben Borthwick, Artistic Director of Plymouth Arts Centre and independent curator and writer on Wenesday 24 June at the ArtReview Bar.
The screening will include the film Double Brass: two bands march in the landscape... created at Kestle Barton, 2014. The performance will be performed for a second time at Kestle Barton on the summer solstice (noon, Sunday June 21st).

Sam Thorne, Artistic Director, Tate St Ives will discuss the exhibition with Abigail Reynolds at Rokeby on Friday 26 June at 6.30.

As an artist who uses the countryside and cityscape as a site for discovery and interpretation, one can locate Abigail Reynolds’ practice within the context of the British landscape tradition. Reynolds understands and explores the concept of place; considering our surroundings as historic, social, political, cultural and personal sites.

Historically Reynolds has mined books and photographs that she collects for images, which are then removed and deployed in different forms and configurations. In so doing the secondhand images not only serve as her initial place of research but ultimately become the material of her work.

With its roots in the history of collage the artist releases images from their original contexts, bringing new associations to them, unearthing new meanings and relationships and uniting past with present to consider alternative possibilities or interpretations. Often working intuitively Reynolds will make decisions based purely on formal or material considerations bringing disparate forms and content into co-existence. Images may be united due to a shared line of perspective or because formal shapes align; aesthetic coincidences that destabilize the power structures inherent in a photograph expose multiple new narratives.

In a similar vein sculpture and assemblage has been an important aspect of Reynolds practice for some time. The artist animates her selected elements into spatial configurations that ultimately have a direct, physical relationship with the viewer. In a recent move Reynolds has reprinted the images she finds on a larger scale, shifting the relationship not only with the viewer but also to the architecture of the spaces in which they are presented. For her exhibition at the gallery the artist will further investigate these spatial concerns and continue her recent explorations that extend the work into the physical space.
In the artist’s recent solo exhibition - Box A: Accidents – at Kestle Barton, Reynolds worked directly with the gallery space, splitting and doubling it in a similar manner to the way she disrupts and doubles the photographs that she has chosen. The exhibition also included a performance in collaboration with St Keverne Brass Band who marched in the wildflower meadow of the gallery.

The title of the exhibition suggests a number, rotated or toppled to a sign for numberlessness or infinity, something turned back upon itself.
Mirroring the processes within the work a simple rotation becomes a reversal and readings are interrupted.

Abigail Reynolds gradated from Goldsmiths in 2002. In 2013 she completed a two-year residency with Rambert Dance, which culminated in Double Fold a performance at Rambert’s new home on the South Bank. Other recent solo exhibitions include Ein Zeit-Punkt, Raum Mit Licht, Vienna, First Light, Plymouth College of Art, UK and A Common Treasury, Ambach and Rice, Los Angeles. The artist’s work has been included in group exhibitions at The Sir John Soane's Museum, London, Baltic 39, Newcastle, The Newlyn Art Gallery, Cornwall, Nottingham, Manchester City Art Gallery and Museum fur Gegenwartskunst, Siegen amongst others.

The artist’s exhibition at the gallery follows a residency in Los Angeles.