Bruce Reynolds
Bruce Reynolds’ response is to the leap from works that are deeply embedded in a subtropical Brisbane, say 12 Edmondstone Street or A First Place, to the Greek or Roman worlds of Ransom and An Imaginary Life. Plaster casts, as they might be, of three pieces of classical armour, are embossed with Queensland flora and fauna; an amphora mounted on a lolly-pink laminex tabletop bears a bas-relief of a flying-fox sleeping upside down, perfectly suspended in fossilised time; in two larger works, giant jars, hydria, reconstructed as such large objects often are from fragments, are made up in one case (Bulimba Hydria) from Art Deco linoleum designs, in the other from what appears to be an aerial view, in red and blue, of a serpentine river that winds across and around it from base to lip.
All this visually striking, and in its mixing of places, times, cultures, speaks strongly, and wittily, for the mixing and matching of a late or colonial culture that is also very boldly itself. What gives these works their haunting beauty (we might think of Keats) is the sense we get of their having been unearthed and preserved; dug up out of a past that is ‘just yesterday’, and in being frozen or fossilised is still close to what once was life and for the artist, a living and lyrical relic of his own life.

David Malouf

 

Bruce Reynolds studied at the ANU School of Art and the Victorian College of the Arts, Melbourne. Following this he taught at the ANU School of Art in the 1980s and at Queensland College of Art from 1986 to 2006.

Bruce Reynolds has had numerous solo exhibitions in Australia and has participated in many group exhibitions around Australia and in Germany.

His work is held in public collections including the National Gallery of Australia, the Queensland Art Gallery, the Museum of Brisbane, Artbank, the High Court, Queensland and the Gold Coast City Art Gallery.

CV