I am interested in the crafting of three-dimensional allegoric fable. Most often, my sculptural fables depict humanity's peculiarities, its power struggles, and the fate of a species that chooses to dominate rather than adapt to its environment.
Growing up, my family home was filled with illustrated books of Aesop's fables, Grimm's Fairy Tales, and other magical stories that stoked my fears and fascinations. Fantastical tales filled with anthropomorphized animals conveying lessons on the perils of humanity's basest tendencies. It took root in my imagination and became my language for translating situations I find troubling or disturbing.
There is magic to be found in narrative sculpture. As storyteller, each piece reveals plot twists and layered meaning from every angle. As sculptor, the piece itself can coax a viewer's perspective into new shapes. Art transforms and informs. If used wisely, it holds superpowers.
~ K.C. Reynolds
Background & Process
I was running a non-profit for refugee artists out of my home when a generous ceramics artist gifted her entire studio’s worth of tools, equipment and over 300 pounds of clay to the cause. The year was 2018, and despite a lifelong love of art, I had no experience with clay. I was fortunate to be invited by a local group of Native American elders to lead some art workshops. Together we learned to make ceramic beads and charms, firing the works in our donated kiln and bestowing the necklaces we made to tribal veterans. This sparked a love of the material and art form that has grown in intensity every day since.
My science background colors my artwork in ways I’m often not initially conscious of, from process to subject matter. The techniques I use for the finishes on each piece are unconventional and full of experimentation; often handmade mixtures of organic or mineral resources with a binding agent. Foregoing ceramic glaze, I low-fire each piece to Cone 2 to retain a porous surface that can readily accept and absorb multiple thin layers of handmade pigment washes, pastels, charcoals, watercolor or thinned oils. I rarely test these finishes beforehand, preferring to adapt to whatever results. The surprises are often the most magical part.
