Faced with the digital abstraction of contemporary society, Reynolds responds with the abstraction of objects and space in an exploration of the impact contemporary technologies have had on painting.
The mythos of classical art and architecture anchors her image making; contrasting the weight of historic objects against efficient, reproducible technologies and the pleasure-seeking immediacy of the post-internet generation. Alongside geometric and architectural compositions, abstractions of artefacts are framed as objects of new idolisation. Refreshed and disembodied in paint, they simultaneously crave and mock a slower, simpler Platonic era. In its entirety, the exhibition laments our loss of physical experience, and the triumph of the jpeg, but there is excitement in the stillness, too – what is next to come?
Genevieve Felix Reynolds’s practice pulls threads from the narrative of art history to make sense of the digital age. Most recently Reynolds’ work featured on the June/July 2016 cover of Art Guide Magazine. Recent exhibitions include Chasm Gallery, New York, Michael Reid, Murrurundi, The Brisbane Powerhouse and Nicholas Thompson, Melbourne. Reynolds was the recipient of the Young Artist Award for the Paddington Art Prize 2016, and has been a finalist in many other Australian art awards, including the Churchie, Sunshine Coast, the Fisher’s Ghost and the Grace Cossington Smith. Reynolds is an active member of the Sydney arts scene and is co-director of the artist-run gallery Wellington Street Projects, Sydney.