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Jennifer Wynne Reeves

November 12, 2012
I asked a young art dealer if he knew a certain painter. The artist he was showing reminded me of her despite the change in medium. I thought it would be cool if someone put the two artists together in a group show. He did not know the painter. I told him he could find her on google and started walking around the gallery again. He found her and said, “Good call, and, oh, she shows with XYZ gallery!” I don’t expect every one to know every artist but as time passes younger people in our community seem to lack grounding in even the current history of art. Simultaneously, it occurs to me that the context of my own work will not be properly understood. I have to depend on my audience’s intuition to “get it”. That’s okay, when I make art I cast my net into the sea of intuitive knowledge anyway. It’s a very big fish. I have learned that to catch one I've had to develop skills. And once I developed skills I couldn't help but to want to learn more, to learn more about intricate, complicated, unbreakable nets. Whoosh! Got one!

February 26, 2013
When I was eight, Disney picked up my pencil to draw foxes and guns. When I was a teenager, Lennon and McCartney filled up my lungs. I learned to "take a sad song and make it better.” When I was in college, Shakespeare made me a man. I put on a jock strap and tamed a shrew. Improvisation exercises showed me the difference between acting and being. Theatre taught me to be a line, not just see a line. When I went to New York, Van Gogh's drawings taught me to know the difference. Modern dance moved me to paint the sound of gesture. When I was 40, writing rendered shapes, painting typed an alphabet, and photography illustrated them both. When I was 49, I picked up my pencil. I was a fox, a gun, a sail, a telephone pole, a bridge, a power line. The arts are more than culture—painting, writing, music, theater, photography, dance, writing—are one, they join hands, they seek segues, they open wormholes. There's no way to ripen without them.

Jennifer Wynne Reeves creates collages on boards that some include wire, some hair or feathers, and some thick applications of paint. This approach could by no means represent flat wall art. The dimensionality makes the art continue in space. Objects and paint are not decorative art either, but there is something folk-art in them; or retrospectively ”American” influences. These works suggest, as one work is titled, voluptuous meanings that are material, sensuous and touchable. Reeves writes as part of her artistic practice. Writing collide with personal meanings, and is symbolic in nature. Her statements, or poems end up being part of the artwork itself, & the work has a sense of humor, mayhem and boundlessness.
Whitney Counterweight 2014
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