The Painting of Victoria Reynolds
This chapter discusses the work of Victoria Reynolds, whose entire oeuvre situates itself in the context of the tradition of depicting flesh, which usually symbolises the sacrifice of Christ in sixteenth- and seventeenth-century painting. She frames her illusionist paintings of raw flesh in overpainted ornamental frames. For the Carnal in Dante’s Hell has a strong visceral presence and is an expression of incarnational imagination (Eleanor Heartney). A set of presentational devises and aspects of the image as the frame, illusionism, and set of textual frames, are deployed but deprived of their usual function to depict or to present as way of reflecting on the infrastructure of representation and to pose questions of truth and artifice.
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