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    0xΩ (Matt Liston and Avery Singer), Dogewhal, 2018, 3D print, stainless steel, 43 x 28 x 43 cm, Courtesy the artists and Kraupa-Tuskany Zeidler, Berlin, Photo: Hans-Georg Gaul Part of the group exhibition, Proof of Work, curated by Simon Denny in...
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    0xΩ (Matt Liston and Avery Singer), Dogewhal, 2018, 3D print, stainless steel, 43 x 28 x 43 cm, Courtesy the artists and Kraupa-Tuskany Zeidler, Berlin, Photo: Hans-Georg Gaul

    Part of the group exhibition, Proof of Work, curated by Simon Denny in dialogue with Distributed Gallery, Harm van den Dorpel, Sarah Hamerman and Sam Hart, Kei Kreutler, Aude Launay, and Anna-Lisa Scherfose.

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    Rune Fisker, Illustration for Wired UK’s annual The WIRED World in 2019. Editorial illustration for article about how in the future, humans could experience new senses by feeding data streams directly into the brain. Big thanks to AD Mary Lees,...
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    Rune Fisker, Illustration for Wired UK’s annual The WIRED World in 2019. Editorial illustration for article about how in the future, humans could experience new senses by feeding data streams directly into the brain. Big thanks to AD Mary Lees, 2018

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    The Drowning Room from Artstudio Reynolds on Vimeo.

    The Drowning Room (An Underwater Soap Opera)

    Reynold Reynolds and Patrick Jolley, The Drowning Room (An Underwater Soap Opera), 1999, 10min. video transferred from Super8

    In Reynold Reynolds and Patrick Jolley’s black-and-white film, The Drowning Room (An Underwater Soap Opera), a seemingly ordinary family is observed as they go about their business in a house that is completely filled with water. The family members, either refusing to notice this fact or simply taking it in stride, continue their activities as best they can: consuming a dinner of fish, reading waterlogged newspapers and petting their suspiciously still cat.

    Engulfed by the water, the relationships between the members of the family, and secondarily, their relationship with the outside world, seems doomed to remain suspended on the state of asphyxiation and decay.

    Viewed in retrospect and through the lens of most recent global events, the family’s domestic isolation can be seen as a metaphor for political isolationism and a willful disconnection from the events of the world outside. 

    artstudioreynolds.com/
    facebook.com/Artstudio.Reynolds

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