RANKLE & REYNOLDS
Rankle & Reynolds are British artists whose collaborative works have increasingly found critical and public acclaim in a series of high profile international exhibitions.
Kirsten Reynolds and Alan Rankle first worked together on the 2008 exhibition Curious & Curiouser at Rebecca Kormind Gallery, Copenhagen. The exhibition, curated by Rankle featured works by artists including Per Fronth, Helen Brough, Colin Gibson and Barbie L’ Hoste with whom they have continued to develop associations and create occasional group exhibitions.
Their next collaboration took the form of a video Warp Factor made by Reynolds using imagery from paintings by Rankle and a soundtrack using a Photosynth – a custom made device that converts the light from the actual video images into a synthesized audio soundtrack. Warp Factor was premiered in Copenhagen in 2009.
Invited by Fondazione Stelline in Milan to create an ambitious new series of works to accompany the 2010 retrospective of Alan Rankle’s paintings, Rankle & Reynolds produced their first major show. Sponsored by the British Consulate and The Commune di Milano, the exhibition On the Edge of Wrong became a critical success with positive reviews and features in the Italian national press.
On the Edge of Wrong comprised jointly made paintings developed from themes in Reynolds’ seminal series of light drawing photographs. This series entitled Following Darkness saw Reynolds making long exposure photographs drawing with a variety of light sources in a woodland at dusk. The locations of the photographs themselves were inspired by elements of Rankle’s paintings and reflected concerns shared by both artists.
On the Edge of Wrong also included a series of remarkable paintings made by the pair in response to Electro a second suite of Reynolds’ photo-works in which the artist developed the performance aspects of the light drawings within a dark and cavernous industrial space, resulting in images of alarming visceral resonance and immediacy.
The paintings inspired by these images, viewed by many as a triumph of collaborative gestural painting, were termed ‘four hand painting’ by the Italian critic Emanuele Bellufi.
This relay / baton-passing or dialogue of gesture way of working reached an apotheosis in the 2010 paintings the pair created for two solo exhibitions at First Gallery, Rome; and The Chelsea Brasserie, London; and the group show The Dance Card curated by Dan Howard-Birt at LIDO Projects, St. Leonards-on-Sea.
A commission for an eight metre long lightbox installation for Kitts nightclub in London brought this exciting period of collaborations to a noteworthy close.
In recent months both Rankle and Reynolds have concentrated on their individual pursuits. Rankle returning to his ongoing Landscape Painting Project taking part in various curated museum exhibitions, and Reynolds continuing to find astonishing international success with her nocturnal sound and light installations as part of Power Plant at festivals in Sydney, Australia, Hong Kong and Hobart, Tasmania.
New works were shown alongside works from On the Edge of Wrong at Federico Rui Arte Contemporanea, Milan in May 2011.
A set of collaborative prints are part of an exhibition which also includes joint paintings at GALLERY 100, Brighton. UK
A solo exhibition by Kirsten Reynolds Power Plant and Beyond opened to much critical acclaim at Gallery B15 in Copenhagen on Friday 13th May.
For further information on this and other Rankle & Reynolds projects please contact:
Benoni Christensen email@example.com