American Art Collector - - Contents - Reinert Fine Art 179 King Street • Charles­ton, SC 29401 • (843) 694-2445 • www.rein­ertfin­ ROGER DALE BROWN & RICK REINERT

Sea­side Scenes

Coastal views from Charles­ton, South Carolina, to Maine—from in­land im­ages of East Coast cities and tidal marshes to views of the open ocean and boat-filled har­bors—will take cen­ter stage at a new two-man show fea­tur­ing the work of Roger Dale Brown and Rick Reinert on Novem­ber 2 at Reinert Fine Art in Charles­ton.

The pair­ing will al­low the two artists’ works to play off each other in ex­cit­ing ways: Brown will be pre­sent­ing more rep­re­sen­ta­tional views of fish­ing and sail­ing boats, re­flec­tive scenes of wet­lands and har­bor scenes that hint at the deep his­tory of mar­itime life the per­me­ates through small towns on the coast, while Reinert will be of­fer­ing looser, more mod­ern views of Charles­ton, in­clud­ing light-dap­pled side­walks, wet city streets and seascapes ren­dered in with ab­stracted qual­i­ties.

For Brown, who lives and works in Ten­nessee, his works stretch from Maine to Charles­ton, and his over­all aim is to trans­port view­ers to his lo­ca­tions. “I want to con­vey the essence of the place, to take you right there with the paint,” he says. “I’ve al­ways been drawn to the wa­ter, even if it’s in­land—I of­ten paint creeks and rivers. It’s a very strong draw for me. I grew up on the Cum­ber­land River in Nash­ville so I’ve been around wa­ter from an early age. My grand­fa­ther and un­cle would take me out fish­ing with them. We were on boats a lot and I re­ally came to ap­pre­ci­ate the ex­pe­ri­ence.”

His love of boat­ing and wa­ter comes out in pieces like Await­ing a Voy­age, which fea­tures a yel­low-hulled sail­boat sand­wiched be­tween a blue sky and even bluer wa­ter in a dock that is brim­ming with char­ac­ter. “Nos­tal­gia is the real draw for me as far as the coast goes,” he says. “Some parts of it are like step­ping back in time, es­pe­cially in New Eng­land where there is a lot of his­tory in the boats and the docks.”

For Reinert, he’s been ex­per­i­ment­ing with his paints and has found a lot to play with. “I’m tak­ing ev­ery­thing a lit­tle looser and more ab­stract. I’m even us­ing gold leaf on a lot of things to help cre­ate an in­ter­est­ing ef­fect. And gold leaf is quite dif­fi­cult be­cause it comes on these thin sheets. The best way to work with it is to put it all on and then kind of sub­tract from it,” Reinert says. “But it’s been fun be­cause I can break ev­ery­thing down into geo­met­ric forms, or what­ever forms I feel are most pow­er­ful. I spend a lot of time com­bin­ing colors and mak­ing sure ev­ery­thing works. When a col­lec­tor sees a paint­ing, the colors should just swal­low them up.”

In works like The Bridge, Fog on Lower King and Morn­ing Color on Ful­ton it be­comes clear that Reinert is hav­ing a lot of fun push­ing his color and com­po­si­tions into their most ba­sic forms. And if it comes to­gether quick he doesn’t feel the over­whelm­ing urge to tin­ker with each brush­stroke. “I know now not to over­work a paint­ing. Lots of times an artist will lay down a per­fect stroke but since it came to be so eas­ily they feel they need to re­work it again and again,” Reinert says. “I’ve got­ten to the point where I don’t over­work any­thing. I just let the piece flow on its own.”


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