Small White Arc Abstraction #7 | By Daniel Reynolds
Hand-built ceramic with glaze
H. 40 x w. 30 x d. 20 cm
About Daniel Reynolds
“My father was a Chicagoan born and bred, and my mother is Venezuelan, from a beautiful small town on the coast. My roots have always played an important part in the shaping of my aesthetic and process.
“I was born in the tropics in Caracas in the 1960s and lived there until the age of 9. The combination of exquisite modernist art and architecture, with the exuberance of tropical vegetation and landscape made an indelible impact which continues to inspire me when creating new work.
“My parents were collectors of modern American and British art, which gave my siblings and me a visual language from early childhood. Caracas in the 1960s was a treasure trove of public sculpture and architecture by great artists such as Alexander Calder, Victor Vasarely, Fernand Léger, Jean Arp, Jesús Soto, Oscar Niemeyer, Roberto Burle Marx and Gio Ponti.
“Frequent visits to Chicago also introduced me to the marvels of the architecture of this fabulous metropolis. For a kid with his eyes open, all this will inevitably have had an impact!
“My education continued in England when we moved here as a family. I was at boarding school in Oxfordshire where the Art Department was run by the talented British sculptor Michael O’Connor. As a collector of British and Japanese contemporary ceramics, with works by Bernard Leach, Gordon Baldwin and Shoji Hamada, he introduced me to the possibilities of this medium. He was an important influence during my adolescent years, allowing me free reign to create sculpture and painting at will, and placing little emphasis on the required rigours of art exams. O and A Level Art were viewed as something to get through without allowing them to stifle innate creativity; an enlightened view at the time, for which I remain grateful!
“My sculptures now hang in private collections around the world: from New York to the Bahamas, Melbourne, Nice, of course London, Miami, Caracas and the Maldives. One of the highlights for me recently, was the opportunity to show a mobile especially commissioned for the inauguration of the Design House at The New Art Centre, Roche Court in Wiltshire.”
“My work is predominately in the field of abstract sculpture and in this respect I feel their function is primarily to enhance and enrich the space they occupy. My kinetic sculptures interact subtly with the space in which they inhabit, capturing light and the gentle motion of the air around them, softly rotating and nodding to the best of late twentieth century modernism.”
“It is my aim that my pieces lend weight and at the same time a kind of joy and peace to a space.”
“I made a conscious decision some years ago, to begin making a series of large voluminous pots in stoneware. I wanted these to be the kind of pieces that relate to the human body in scale and would almost want to make you hug them! In fact some of the early pieces were called ‘Hugging Pot in Blue’, or whatever colour they were. I might reinstate this nomenclature, as I feel it really does sum up their best qualities.”
‘Overall I want balance, colour and movement to be expressed through soft edged geometry, where the maker’s hand would be very much in evidence.’
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