I am beyond excited to share with you my first artist interview after a long hiatus! And I know you will enjoy reading about Robin Reynolds and her creative journey,

In this interview Robin explains, in detail, how she creates her beautiful abstract plein air paintings. She also talks about how nature and her garden help to support and inspire her work. I can’t think of a better artist to feature in this spring blog post. Enjoy!

Painting by Robin Reynolds — Moving Forward by Robin Reynolds. 36’x36” 2020

Hi Robin! Your work is beautiful. Can you tell us how you got into painting?

My mother signed me up for an oil painting class when I was in third grade and I have been pursuing art ever since. During high school I took figure drawing classes at both Boston University and the Museum School and really enjoyed them. However, when it came time to apply for college I veered away from art school. I thought I needed a liberal arts degree in order to make a living, so I ended up at Colby College pursuing a dual degree in Economics and Art.

While at Colby my teacher, plein air painter Gina Werfel, assigned us to paint outside. As I sat in a hayfield painting I had a very moving experience. I started experiencing the hayfield on many levels, spiritually as well as physically. I had an epiphany. I knew from that day forward that I needed to figure out a way to continue my art, even if it meant making sacrifices along the way. I studied abroad in Florence, Italy my junior year of college. That experience of being surrounded by such amazing art, reinforced for me that I had to become an artist.

What did you do after graduating from art school?

After graduation I struggled to find the right path. I wanted to go to graduate school for art but didn’t think my portfolio was good enough. I ended-up getting a second undergraduate degree at Massachusetts College of Art. I loved my time at the Massachusetts College of Art, taking whatever classes I wanted and focusing on my art. I was in heaven. I experimented with materials and started creating sculptures with hay, reeds, rope and dirt based on New Zealand Mauri totems. These sculptures were based on trips I took to New Zealand and Australia. Eventually I channeled by creativity back into painting (storing 6 foot tall hay sculptures was not easy) and worked towards a master’s degree at Savannah College of Art.

I love the colors and movement in your paintings. Where do you find inspiration for this work?

Inspiration for my work comes mainly from nature. I feel most alive when I am outside watching the lifecycle of plants, trees, bugs, and flowers. Every day offers a different viewpoint…an abundance of things to paint. I need to look closely and focus in order to gain information on color and composition. I am not a slave to what is in front of me, but rather it is the catalyst for the beginning of each new work.

A lot of plein air artists paint landscapes, but your work is different. Will you tell us a bit about that?

When I began painting in graduate school I was consumed by the beautiful vista views of a wildlife refuge I visited in Savannah, Georgia. However, my viewpoint changed after taking a class with artist Jon Imber in Stonington, Maine. I started painting at Sand Beach, standing at the edge of the woods looking down into the water. I started taking a narrower view of nature and blowing it up. I still take this same approach to painting while working in my garden.

Garden immersion art show by Robin Reynolds — Robin’s garden immersion

And how does your garden support your painting?

I have designed my garden to incorporate different colors, textures and shapes that I want to paint. I have a lot of plants in containers that I move around my garden, I add the planters to what is blooming or dying in order to manipulate the composition. I love being able to immerse myself in my garden and being able to paint in the same spots day after day and year after year. A natural rhythm is formed and I become one with the space.

A few years ago I received a grant to make what I deemed my ‘garden immersion’. I put together a series of 13 paintings, attaching them in various ways to replicate the feeling of being immersed in my garden.

What materials do you use for your paintings? What is your process?

My design process begins with the panels that I make from scratch. During graduate school I realized I prefer working against a hard surface. I began to adhere paper onto the panels when I realized it helped prevent the wood grain from showing through in my work. After adhering the paper, I gesso and sand the panels many times in order to create a very smooth surface. This allows the paint to slide across the panel. I can wipe away the paint as easy as I can add to it. With this surface, the paint also sits-up more instead of sinking into the grain.

I use oil paints and what is considered as an old fashioned medium; stand oil, damar varnish and real turpentine. I enjoy the balance of both thin vs thick paint as well as transparent vs opaque colors, allowing my work to vacillate between abstraction and representation. I mainly use a medley of brushes as well as paper towels and scrubbies to add and wipe away at the surface. Throughout the painting process I continually use my medium in order to have a consistent sheen over the entire painting.

Each painting is done over a series of 3 to 7 sittings, with each sitting lasting 3-5 hours. A painting is finished when I no longer know what to do next. I will compare the painting to my other work and wait until it speaks to me. If it is silent I realize I am in fact done.

What is unique about your work and makes it stand out?

This is a difficult question. I would say my mark making and the colors I use make my work unique. Also, the balance between abstraction and representation. This is different from most plein air painters who concern themselves with light and atmosphere. I have a more contemporary approach to plein air painting and try to render a sense of place rather than replicating what is in front of me. Also most plein air painters paint small, whereas I paint on panels that measure up to 4 foot square.

How can readers connect with you?

I can be reached through email and Instagram.
Readers can also visit my website.

And I am represented by the following galleries:
Soprafina Gallery, Boston, MA
Cynthia Winings Gallery, Blue Hill, ME

A unique approach to plein air painting with Robin Reynolds