Audrey Reynolds's London Solo Show: Shadowy Figures Between Portraiture and Pure Form
By
Digby Warde-Aldam
Summary
Audrey Reynolds's first London solo show in over a decade features 15 paintings of female figures in states of apparent disquiet, rendered in chintzy interior settings. The works blur the line between portraiture and formal exercises, with the artist's technique involving layering thin washes of oil paint to create shadowy, ambiguous figures that seem to emerge from and recede into their backgrounds. The review explores how Reynolds's paintings confound easy categorization, existing somewhere between representation and abstraction, and between psychological portraiture and pure painterly form.
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Key quotes
· 3 pulledThere's something confounding about the paintings in Audrey Reynolds's first London solo show in more than a decade.
The women are all rendered in a manner that seems to be both a portrait and not a portrait at the same time.
Reynolds's technique involves layering thin washes of oil paint, creating figures that appear to emerge from and recede into their backgrounds.
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