Skip directly to content

About David Reid-Marr

The artist carrying Loaves and Fishes

 

  David Reid-Marr was born in Kent, England, and after graduating with an M.F.A. from the Royal College of Art, London, he came to the U.S. to study Zen Buddhism with Maezumi Roshi.
 
  His early sculpture was focused on site-specific work and has evolved to include installation, performance, and large-format drawing. He has exhibited widely in England, Wales, California and the West.
 
  He currently teaches Visual Arts at Idyllwild Arts Academy, California, and California State University, San Bernardino. He has published articles on alternative education, and is writing a book on emergent teaching with Dr. Sam Crowell which will come out in the Spring of 2013. He lives with his wife Jennifer in the San Jacinto Mountains.
 
 
 ARTIST STATEMENT ( there are specific descriptions with images of work)
 
  Sculpture.
 
  The conceptual framework for the earlier sculpture is a critique of organized religion, with it's focus on transcendence as a way of redemption while subjugating immediate experience.
  The work examines belief systems, miracles, the culture of relics, the political power of the church, and the perception that it is a mediator between us and god. A similar critique can also be applied to the power of the art world to define meaning.
  Later work introduces myth and subconscious imagery as a way of accessing the presence of dreams. Scale and the use of materials that have strong physicality and incompatibilty with the core subject, enhance this feeling of presence.
 
  Drawings.
 
  The earlier work consists of large-format drawings of trunks of trees, and have evolved to include other subjects such as wrecked cars, and life-sized figure drawings. In the choice of subject matter,use of materials, and technique, these drawings examine issues such as decomposition,temporality,and presence.
  In the second group of drawings the focus is on process using a repeated phrase, or an invented text. This method has evolved into endurance drawing that includes a twenty-four hour continuous drawing. During this process the intellectual component of choice is short-circuited by the demands of place/moment.
  Several other drawings critique organized religion especially its' transcendent aspects .In this respect it references some of the sculptural and performance work.
 
  Performance.
 
  Performance is mostly seen here as a way of "activating" sculpture, and includes some of the same elements that underlie the "static" work, such as critiquing religion, endurance, paradox,and immediacy.