Reynier’s work is, like few others, a reflection of his life, it seems like a diary. All his moods converge in his work. He does not know how to unburden himself in any other way. It is a deeply intimate, heartbreaking work. It has moments of happiness, but I dare say they are the fewest. That is the reason, perhaps, why it costs him less to start a job than to finish it, and that first moment is very physical, emotional, almost violent. After that, everything happened and the rational, to arrive at the final result, is more difficult.
His work is a reaction to the world around him. Every aspect of their interaction with everyday reality functions as a stimulus for creation. The mixture of colors, textures, sounds, movements, people, etc. that he encounters in his daily activities act as punches or caresses in his mind and he constantly feels the need to capture them in paintings or drawings.
In his process, the paintings are based on automatism and the use of the subconscious; he does not usually have anything premeditated on the blank canvas. The act of painting for Reynier is therefore a kind of ritual or trance based on sensations and feelings. He usually works on different paintings at the same time to develop a workflow led by adrenaline and intense energy where chance and improvisation are two key elements. As a result there are dramatic encounters, where the human element is a constant presence although not always explicit.
