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Indepth Arts News: "Daniel Reeves Above Memory and Transformation" 1999-10-08 until 1999-12-22 Bayly Art Museum Charlottesville, VA, USA United States of America
Featured in the present exhibition are: 1) IRIS and
Lamda prints, digitally printed on linen, canvas, and
acid-free paper as ink jet monochromes, then worked by
hand to create layers of color with oil sticks and a variety
of other media, including letter stamps and gold leaf; 2)
Eingang: The Way In, a 1990 media installation
commissioned by the High Museum of Art in Atlanta
that explores the tensions between nature and technology
and the immanence of impermanence in all things; 3)
The House of No Escape (sited on the second floor of
the train station on West Main Street), a new video
installation created in memory of Barry Valentine, the
artistís friend and colleague who died in the Lockerbie
airline crash in Scotland in 1988, whose title The
Wisdom of No Escape by Pema Chodron; and 4) End
to End, a new triptych video painting employing
DVD-ROM playback and flat plasma screens, whose
image slowly shifts over a period of hours to create an
allegorical landscape. In addition, Reeves will create an
outdoor landscape installation, with U.Va. students
sponsored by the Arts Board, and other work with
students in the Art Department.
In conjunction with the Museum's exhibition, the
Virginia Film Festival will present programs of the
artist's videos and film prior to and during the Festival.
The exhibition is made possible with the support of the
Art$ and Arts Enhancement Programs and the Virginia
Film Festival.
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Born in 1948 in the U.S. and a resident of Scotland,
Daniel Reeves began his artistic career as a video artist,
producing his first work, Thousands Watch, in 1979,
two years after graduating from Ithaca College with a
B.S. in cinema studies. From his earliest pieces on video
to his present installations, prints, and paintings, Reeves
has produced formally complex and aesthetically and
technologically layered works that explore and resolve
his personal experiences with violence (as a child and as
a survivor of an ambush during the Tet Offensive in Viet
Nam) as well as the 20th centuryís legacy of destruction
and genocide. Through his emotionally searing,
intellectually rigorous, and strikingly beautiful images, he
aims to provide witness to the cycle of violence through
transformative vision. Reeves forgoes narrative
conventions in favor of multisensory experience, which
itself becomes a metaphor for the interconnectedness of
life. He finds hope in the seemingly hopeless, potential
and significance in the moment.