Reynolds grew up in a medical family where a microscope was central to her observations of the world. She studied painting with Richard Pousette-Dart, printmaking with Ansej Uchima, and graduated from Sarah Lawrence College with a degree in Women’s History. She also holds a B.F.A and an M.F.A from School of Visual Arts. She has worked as an Artist/Educator at Studio in a School, the Guggenheim Museum, The American Folk Art Museum, and is presently an Artist/Instructor at the Brooklyn Museum. She has exhibited and performed in the United States, United Kingdom, Germany, France, Italy, Chile, and Brazil. Her most recent one person exhibitions were “Caffarella Chimeras” at studio.ra Rome, Italy in 2022, (works on silk); “nAsty woman’ at studio.ra Rome, Italy in 2017 (drawings), and “Looking Back, Seeing Forward”, NYU Kimmel Galleries, NYC in 2013 (paintings). Some of her most recent Group exhibitions in 2023 included “Universo Donna a Cassano (BA)” at Palazzo Marchesale Miani Perotti, in Murge, Italy; “First Come First Served” at “B” Dry Goods in Brooklyn, and “All Tomorrow’s Gardens” at EV Gallery NYC. From 2000 until 2020 she exhibited and performed with “The London Biennale” an impromptu International Performance and Exhibition Festival founded by David Medalla. Her performances can be seen on YouTube.

Reynolds’ paintings describe an interior landscape riddled with ecological deformities and visionary possibilities. Twisting their way around pictorial formulae used to conflate women and nature, these paintings remain outside the linear tradition used to define gender norms. Transformative possibilities are marked in the ruins, as gravestones commemorate the altered landscape of the body. Post 9/11 and the Invasion of Iraq, the stones were marked with cuneiform to commemorate the loss, as a tidal wave of catastrophe threatened to swamp the world. The paintings became shades of white, which had a literal source in the ash of war, and the bleached coral and arctic melt of global warming. During the great sickness as humans stopped breathing, the air briefly cleared, and color crept back into the painting. She hand-ground ‘interference colors’ that reflected and mirrored the glittering network of fungi, bacteria, and virus that overtook the terrain and sky. From the depicted swamp her work continues to explore the ambiguous morphology between abstraction and a fractured representation.

“With the pleasures of paint, I descend into the jungles of my mind and body like a missionary bearing fruits of a forgotten existence.” ~ Reynolds



Works on Paper