I am interested in the physical representation of contemporized fable. Visual, multi-dimensional stories rich with messages, morals and metaphor. I rarely set out with a conscious intention to create sculpture in fable form, I begin with a single idea or image--something I haven't been able to get out of my head, and at some point in the building of it the piece begins to tell its tale, morphing and evolving. Humanity's peculiarities and power struggles have a strong influence on my work, and my pieces are often allegorical observations based on these themes. 
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 with anthropomorphized animals and objects conveying lessons about the perils of humanity's basest tendencies. It clearly 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, the piece can be both storyteller and sculptor itself, coaxing a viewer's perspective into new shapes, revealing plot twists and hidden meaning around every corner.  

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 2019, 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. 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, choosing instead to adapt to whatever results.
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