9 April - 12 June 2022
Our first show of 2022 will feature film and sculpture by Abigail Reynolds, an artist who has worked closely with Kestle Barton for almost a decade to produce a variety of projects and opportunities for creative exploration.
In 2019 Kestle Barton hosted Estover– an event led by the artist Abigail Reynolds. Over the Estover long weekend, glass was made from the two simple ingredients of sand and seaweed. The artists film, Flux, tells the story of glass making from gathering the ingredients from the Cornish coast, to blowing the glass at Estover.
This exhibition is an opportunity to see the film alongside the glass, and woodblock prints of kelp; the seaweed used to make the glass. Continuing themes established at Estover, Abigail considers the value of labour, and how we can change our relationship to the land. A new artists book will be produced for this exhibition.
Previous Kestle Barton projects by Abigail Reynolds include:
Ledger in 2017, alongside Sophy Rickett and Michelle Stuart.
Solo exhibition Box A: Accidents in 2014.
In 2014 and 2015 Double Brass, a performance work for the summer solstice with St Keverne Band.
Much of my work starts with images printed in books. Widely circulated images (for example of London monuments) shape our shared perception of places and identities, by which individuals navigate. I often use my work to think about how subjectivity is mapped onto both place and time, photography being a direct way to think about time: you can’t avoid time with a photograph. I often work sculpturally with glass, using it like a lens to focus the act of looking. This is also an extension of photographic looking which is necessarily through a glass lens.
Whether I am working on a sculpture, a film, or an event it aligns with a collage sensibility. All my work is in essence collage; the practice of bringing found materials into a fresh context. As I work, I try to expose and spatialise the ideological and the formal structure of an image or a place.
“The pages and images she excavates, now dislocated from their original context, become more like artefacts or archaeological remnants – more enigmatic, more mutable, and open to more complex meaning and association.” (Martin Clark 2013)
Abigail Reynolds is an artist whose multifaceted practice encompasses collage, photography, sculpture, printing, film, video, performance, and installation.
She lives in St Just, Cornwall, and has a studio at Porthmeor in St Ives. She studied English Literature at St Catherine’s College, Oxford University and subsequently Fine Art as an MA at Goldsmiths College, University of London.
During 2022 Abigail will be exhibiting across the remaining cities of the British Art Show 9 tour: Wolverhampton, 22nd Jan – 10th April 2022; Manchester, 13th May – 4th Sep 2022; and Plymouth, 8th October – 23rd December 2022.
Aberdeen has already hosted in 2021 the first leg of British Art Show 9, and Elliptical Reading the work exhibited at the Aberdeen Central Library will adapt to each local context during the year, having been conceived as a cumulative experience.
The Spring of 2022 will feature a solo exhibition Flux at Kestle Barton.
Tre will be unveiled in the main window of Kresen Kernow – the Cornish Archive on St Piran’s Day 2022/5th March, alongside a programme of events. This large scale public commission celebrates the temporary return to Cornwall of key Medieval manuscripts. In its scale it will be Abigail’s largest work to date, whilst in scope it embraces many of the facets of her previous work. Some of the glass in this work will be made from sand and seaweed; here it is expressed as mouth-blown roundels, inset into and disrupting the design, and drawing a connection to the glass production undertaken as part of Estover.
In 2020 Abigail was awarded a Paul Hamlyn Foundation award for visual art. She also completed a Contemporary Art Society commission for a major private collection.
In March 2016 she was awarded the BMW Art Journey prize at Art Basel, to travel to lost libraries along the Silk Road. Her book Lost Libraries documenting this journey was published by Hatje Cantz in 2018.
She has work in the Arts Council Collection, Government Art Collection, Yale University Art Gallery, New York Public Library, and many private collections.
For a comprehensive view of Abigail’s work and archive, please visit www.abigailreynoldsarchive.com