Mark A Reynolds – Intersecting the Void by Intervals
Thursday, 9 July 2015
The 1.111 Series – Mark A Reynolds 
Mark A Reynolds’s constructivism of intersecting translucent planes is created by modulating primitive shapes and lines based on proportional systems such as the golden section and square root series. Tracings of overlays, which record a process of revision over time create spatial illusions; precision cuts in space that represent an architecture of intervals. Reynolds notes that he is interested in ‘how the mind builds things, how it specifically orders space and records the development of an infinite variety of choices and structures because of the ratios and relationships inherent each system.
Cartography is implicit; the geometry of points, lines and their triangulations, in his works, are possible maps or mnemonics for imagined space; refracted cubist psychogeographic trajectories of structured time. No need to be reminded that geometry (from the Ancient Greek: geo- “earth”, -metron “measurement”) means to measure the Earth.
Minor Third Series, Fine Structure of Matter – Mark A Reynolds 
Minor Third Series, A Grouping of Root Fives – Mark A Reynolds 
Minor Third Series, Vortex Sound – Mark A Reynolds 
Greater and Lesser Dyad Series, Two Ogee Curves – Mark A Reynolds 
Musical Ratios Series, 6 to 7 – Mark A Reynolds
Phi Series, Root 5 Grouping – Mark A Reynolds 
Square Series Piston Effect – Mark A Reynolds 
Phi Series, Phi Square Root – Mark A Reynolds 
Many of the works meld disparate ratios together to create unified systems of mathematical counterpoint and resonance by isolating unifying elements that can bridge domains – in in his own words, to join the incommensurable. Since ratio and proportion are key to his structuring process it’s no surprise that there is musicality encoded into his works too.