"One could say that the very fragility of film, once again unusual in the face of the dematerialization of electronic images, encourages contemplation of change and chance, of birth and death. Such notions find an eminently physical expression in Reeves#s work: in the fractal cracks of altered pigments that adorn some of his hand-assembled photograms, or in the undulating flows of thick, opalescent paint, sometimes studded with air bubbles like stars, that surge forth at other times."
-- Ed Halter, Artforum

"On a structural level, Reeves has occupied a bold position by pushing back the boundary between reason, obsessive memories, intimate madness and the drift of society; at the intersection of psychic disturbances, cultural artifacts and the process of the darkening and dilation of vision and consciousness, achieved through the accumulation of layers of images on a single strip of film."
-- Bérénice Reynaud, Senses of Cinema

"From optical printing to direct-on-film techniques such as hand-painting applying pharmaceuticals directly to the film stock, or re-photographing film strips that were literally sewn together, the 'skins' of Reeves' films are the ostentatious, sensual, and captivating outward-facing carriers of the works' internal nervous systems."
-- Chris Stults, Cinema Scope

Films:

WHEN IT WAS BLUE (2009, 58 min)
GIRLS DAYDREAM ABOUT HOLLYWOOD (1992, 4 min)
CONFIGURATION 20 (1994, 11 min)
THE GIRL'S NERVY (1995, 5 min)
WE ARE GOING HOME (1998, 10 min)
FEAR OF BLUSHING (2001, 5 min)
LANDFILL 16 (2011, 9 min)
STRAWBERRIES IN THE SUMMERTIME (2013, 16 min)
COLOR NEUTRAL (2014, 3 min)
PIGMENT-DISPERSION SYNDROME (2022, 6 min)

Includes 40-page booklet with texts by Laura Staab and Michael Sicinski

Publisher: ReVoir