Wave
oil on aluminum
12'x15'
Installation view
Richard Neal and Jackie Reeves
Slow Motion
Narrows Center for the Arts
June 1-July 20, 2019
The Narrows Center for the Arts is located at 16 Anawan St, Fall River, MA 02721
Installation view
Installation view
Richard Neal
Installation view
Richard Neal
Installation view
Jackie Reeves and Richard Neal
Installation view
Jackie Reeves
Installation view
Richard Neal
Installation view
Jackie Reeves
Installation view
Jackie Reeves
Installation view
Richard Neal
Jackie Reeves
Regatta
oil on aluminum
21x24"
Partial Memory (skipping)
Jackie Reeves
oil on panel
20"x24"
Watching Them Swim
Jackie Reeves
oil on aluminum
22"x25"
Installation view
Jackie Reeves
Reverie
Jackie Reeves
oil on aluminum
24"x27"
Beaver Lake
Jackie Reeves
oil on aluminum
12"x14"
Photo Booth 1
Jackie Reeves
oil on aluminum
12"x15"
Partial memory (holding baby)
Jackie Reeves
oil on aluminum
10"x13.5"
Drifting
Jackie Reeves
oil on aluminum
21"x24"
Wave
Jackie Reeves
oil on aluminum
12"x15"
Survey
Jackie Reeves
oil on aluminum
10"x13.5"
Campfire
oil on aluminum
12"x15"
Extinguished Campfire
oil on aluminum
12"x15"
Installation view
Jackie Reeves
Installation view
Jackie Reeves
Washing Cups
oil on aluminum
42"x48"


Slow Motion
Art by Richard Neal and Jackie Reeves

The Narrows Center for the Arts
June 1-July 20, 2019

As we struggle to remember the specifics of a certain memory, some of the edges come into focus, sharp and well defined. Other details are hazy and remain tantalizing, just beyond our grasp. A photograph—presenting a two-dimensional representation of an exact moment in time—would seem to contain the truth of a memory, but often stands in opposition to our recollections. Add the fact that photography is so frequently altered in subtle (or dramatic) ways, and the nature of reality becomes perplexing and malleable.

In a body of work based on the Zapruder film of 1963, Richard Neal builds on the images of a tragic event that altered the trajectory of modern history. He builds with charcoal, oil, collage, and blown-up photographic stills from a moving picture, manipulated and printed on canvas. In presenting the tenderness and horror of a specific moment, Neal also examines the limits of visual perception. When it comes to understanding the truth, can we believe our own eyes?

Working on paper, Mylar, canvas, wood, and aluminum, Jackie Reeves spills and splatters, pours and drags to build images that evolve from contemporary and historic family archives. Her paint pours often form slow-moving, aqueous pools, while pulls and drags can remove entire areas. The resulting images emerge and dissolve at the same time. Concerning memory, she asks, “How are our lives defined by what we experience and remember? What is the nature of our existence when those memories fade or disappear altogether?”