In the most academic design evaluation, when organic forms (self-portraits, landscaped trees, man-eating plants and other “vegetation” are painted on square gridded three dimensional blocks, a
radical existential clash occurred in this reviewer’s consciousness. When such supple organic forms are so sensitively and painstakingly rendered on such hard, machined, and manufactured
surfaces a disruption of opposites is immediately perceived.
One can only assume an experiential statement is being made
yet the artist’s evaluation is likely not to be positive one. I will get to that negative evaluation later.
Maintaining this academic slant, the grid in two dimensions and three dimensions has been one of the singular building blocks used to anchor both western Graphic Design and Architecture for most of the last century. In Graphic Design the grid was a logical understructure used to rationalize a potentially chaotic picture planar space. Length, depth, right and left are typically circumscribed into predictable quadrants using the reliable grid. Amazingly, because the space determinations are frequently actualized in real three dimensions (we’re often not talking about representative spaces here), rationalized space is useful in architecture as well. When both kinds of designers reject these rationalizing conventions, the affect can sometimes be jarring, challenge our sense of equilibrium, but the affect can be liberating as well.
That said I suspect liberating may not be goal of this artist’s work.
Reynoso is more likely to play sly with the grid, preferring to be more playful than severe most of the time. This surprisingly does not lessen the clashes
I described earlier. In fact this aesthetic collision game seems even more savage when you see it played out or upon his subtle features and physical frame. When Reynoso adds narrative to this violence theatre, events can quickly turn sinister as when he ponders topics like death and the processes that provoke
it regarding the man-eating plants. Acting as a kind of pictorial expressionist
or provocateur, Mr. Reynoso never allows us to turn our gaze, his intentions
are totally dedicated to assault scenarios yet the tone of his presentation
is so subtle. A coy story-teller, one can only imagine why he sees himself as so integral to the turbulent scenes and events he paints.