Rachael Reeves’ paintings have been described as ‘visual resolutions which attempt to make sense of her own fragmented experience,’ and, in extension, the multifaceted experience of the viewer.
The stasis and time afforded by the pandemic enabled her to focus sharply on her immediate surroundings. Rachael looked at the interior spaces of her home: the intersection of line, the shape of objects, and the filtration of light preoccupied her. She says, ‘I became interested in manipulating the space and forms and found that the paintings began to reflect a sense of displacement, and disorientation,’ This echoed the uncertainty and elastic nature of time experienced throughout the pandemic.
Rachel describes her paintings as ‘visual soundscapes;’ their fragmented nature describing the reality of experience. She is interested in the way we see: the continual movement of our heads and the shifting of our eyes renders fixed, linear perspective as a 'false' way of looking. Each layered fragment or interrupted object acts as a separate segment of seeing, experienced in a snapped second.
The bold chiaroscuro of these paintings resembles a theatrical stage set. Each piece features directional lighting from 'off stage,' leading the viewer’s eye around the picture plane, as well as introducing a psychological optimism to the sombre-coloured spaces. This external light acts as an interchange between the interior and the exterior -a theme she has explored throughout her career.
Rachel studied at Coventry University and then at the Chelsea College of Art and her tutors included Ian Stevenson and Therese Oulton. She is tutor at the Newlyn School of Art and a member of the Newlyn Society of Artists. She has exhibited her work at Stratford Gallery, Broadway, and recently had a solo show at the Jupiter Gallery in Newlyn.