The Art of Bruce Reynolds

By Tobin Bennison

The enduring image of the surfer as the apolitical free agent of the past, though clung to tightly by many, is somewhat outdated by 21st Century standards. That hairy, carefree beatnik swaddled in the cozy blanket of neutrality isn’t much more than an unattainable ideal in this era of mass computerization, cultural globalization, and the omnipresent threat of terrorism.

Places like Indonesia and Tahiti, once the far outposts of the surfing world, are now common surf trip destinations, and the ever-increasing popularity of the sport has blurred the societal fringe surfers once called home. Surfers of the recent past were lazily apolitical, if not staunchly conservative in their views.

Flip through any random Surfer Magazine issue of say, 10, even 6 years ago, and you can see how much the sport’s changed. Apart from the comparitively lame fashions, one notices a politicization of surfing culture dictated by world events and serious environmental issues. Surf art is another area of the culture that’s changed so dramatically. “Edgy” is the operative industry word these days, and current graphics (replete with aphoristic slogans) reflect the importance of responsibility and involvement in issues affecting every aspect of the sport.

Local artist Bruce Reynolds attests to the old conservatism. “Incorporating any politically-charged image into your art was the kiss of death for any surf artist up until about 6 years ago,” he says. To call what Reynolds creates “surf art” seems a bit limiting, however; for though the avid waterman informs his eclectic body of work with references to the sport, the Pop Art, Abstract _Expressionist, and Dada movements were instrumental in his decision to take up the craft in earnest.

“The genre is expanding and opening up at an incredible rate. Surf art is definitely more interesting and worldlier than when I first began,” Reynolds says. “It was very difficult when I first started showing stuff at the surf expo with Nemo (fellow artist Mike Nemnich). My stuff wasn’t all that well received. I don’t think casual viewers were prepared for that diversity and complexity.” Reynolds’ interest in the avant-garde reflects his belief that “the unexpected is always refreshing.”

Reynolds was always prone to introspection, and the work of decidedly “urban” artists like De Kooning, Rauschenberg, Pollock, and European Dada adherents of the early ‘20s, impressed him with their emphasis on hidden meanings and skewed perspectives. Reynolds’ most striking work is of the mixed media variety -- three dimensional “collages” of found objects which create a message that isn’t overtly political, but thought-provoking in way hitherto unseen in traditional surf art.

The biggest challenge is in gathering the components of each of these pieces, and Reynolds is constantly scouring his surroundings for prospective elements. “That’s the beauty of art. You can start with an idea, but it’s never completely concrete for me,” he muses. “It’s an orgganic process and you just let it unfold naturally.” His eyes are always “open” in the way Zen masters’ are; always on the on the look-out for something, whether material or intangible, which will fit perfectly into a particular creation. “You’re looking for something, yet you don’t know what it is until you find it. You’d never consider it to be essential at first, but when you stumble upon it, there it is. It’s a perfect moment.”

Another perfect moment occurred in 1957, when Reynolds’ father took a job at Kennedy Space Center. An 8-year-old Reynolds began surfing the Cocoa Beach area in 1963, but spent much of his twenties living in Hawaii and California. “I was tired of California. It was crowded and expensive,” he remembers. “Plus, I missed the people here and decided to move back in ‘84.” However, that stay on the West Coast proved fruitful. Reynolds always had a knack for design, and a spate of odd jobs while in California gave him invaluable experience in woodworking, construction, and furniture design, trades which inform the sculptural nature of his textured mixed media pieces and his dexterity with different materials.

Those skills and a passion for art blended together to help form his first creations. “I knew that I wanted to do something fulfilling, and once I made the decision to pursue art, there was no turning back,” Reynolds says. “There was simply no other option -- it was all or nothing. I decided to take my love of art and make it my work. My early desire to express myself was a huge driving force. I take great pains not to emulate, but it’s part of finding your own voice. I try to do something you wouldn’t typically see.”

Another thing that sets Reynolds apart from many surf artists is that he’s embraced the urban centers of art -- and in turn, he’s been warmly embraced by them. Galleries and museums in New York, London, Philadelphia, Chicago, Baltimore, and Washington D.C. have displayed his work proudly, as have many along the West Coast. He’s shown locally in several art shows and graced the walls of the Deland Museum of Art, but his breaking into the larger, more established galleries is testament to his wide appeal. Acceptance in these is granted only after participation in highly-selective, juried shows.

Tony Sasso, who helped start the East Coast Surfing Hall of Fame Museum, knew Reynolds’ experience would come in handy when he approached him to help curate the current “Eternal Summer: The Art of Surf Culture” exhibit at the Brevard Museum of Art and Science. Reynolds’ broad understanding of museums and interior space design made him the ideal candidate.

“Eternal Summer” (running through September 14th) has been overwhelmingly received for bringing together local surf artists from different backgrounds and schools of thought -- among them: Reggie Holladay, Rick Piper, Nemo, Pat Madden, Hassan Patterson, Gary Propper, Steve Forstall, Larry Pope, Wayne Coombs, and Jim Hannan. “People have been very supportive and other museums have expressed interest in the exhibit,” explains Reynolds. With any luck, “Eternal Summer” will be making a nationwide tour.

Time may reveal Reynolds to be in the forefront of the “surf art revolution,” and the genre’s relative youth allows us a front-row seat to watch these changes unfold. With his tireless work in creating new forms and pushing the boundaries of surf art’s definition, Bruce Reynolds has expanded the style’s central core.

Check out Bruce Reynolds work at his “Beach Culture” studio/gallery, 222 1st St. N. in downtown Cocoa Beach (next to Da Kine Diego’s). Viewings and tours are made by appointment only, but if you’re lucky, you may catch him inside. Call either (321) 784-0720 or (321) 431-5640 for appointments or purchase information. Be sure to catch the “Eternal Summer” exhibit, running through September 14th, at the Brevard Museum of Art and Science (1463 Highland Ave.; Melbourne; 242-0737).