Posted by
RANT BRAZEN on Sunday, March 22, 2009 9:24:00 PM
North Brunswick Magazine Q. C. Reynolds: 88-Year-Old Artist on the Rise By Verne Strickland Quimby Cassius Reynolds has broken the sound barrier. Almost totally deaf since childhood, the 88-year-old Wilmington resident has found his own way to a happy, fulfilling life. He brings an unyielding yet jovial spirit to the task. His children, who know the real man inside that silent world, have helped to ground him. His successful auto body repair business has been another diversion and source of pride. But his art — he is a talented if unsung painter — is his consuming passion. In these things you may find the keys that make this energetic, engaging man a success not only at art, but also at the art of living. Despite a childhood splintered by the early death of his mother, the long absences of a dispirited alcoholic father, the ravages of the American Depression, the poverty and hunger he knew in his youth, and the puzzling hush that came upon him at the age of seven, when rheumatic fever eclipsed his hearing, he has persevered and even prospered. His early years offered a mending of sorts, as he was taken in by his grandparents, who lived in Clinton. They raised him in their comfortable home and gave him some of the love and security he had missed, but they did not give him any special breaks because of his hearing loss. When he moved out on his own, Reynolds roamed the East Coast from New York to Florida, finally settling in Wilmington. He had discovered a talent for painting — automobiles in this instance — and opened his own body shop in Wilmington in 1960. His customers regard him as a master of sheet metal and gleaming lacquer, with the ability to match factory paint with unerring accuracy, or create custom finishes that evoke admiration. He never saw a dented, scraped or crushed fender, door or hood he couldn't return to its original pristine condition. He fixes, restores and beautifies, and his customers return. Reynolds’ youngest daughter, Robin, has served as bookkeeper and office manager for 25 years. An added role is facilitating communications between customers and her father. Now 43, Robin holds a psychology degree from UNCW. Her loyalty is not lost on her father, who is quick to acknowledge her value and the special place she occupies in his business and in his life. “Robin was almost raised in the shop,” he says. “She fills in where I can't. I couldn't make it work without her. We're a real good team.” Twice divorced, Reynolds has two other daughters in addition to Robin — Phyllis, 63, and Jackie, 53. His second marriage ended in 2000. It proved to be a turning point in his life in more ways than one. He moved into a small neat home on Second Street, where he has since lived alone. “After this divorce, I saw his interest in art really spike,” says Phyllis. “We all knew that his painting was important to him, but it seemed to take on a deeper meaning at this time.” With her father’s encouragement, Phyllis at an early age gained a serious interest in art, commencing with drawing but soon graduating to oil painting and collage. She is now an established artist in her own right. Her granddaughter, Jennie, also reveals artistic inclinations. Reynolds has left his indelible brand elsewhere in the family. His daughter Jackie is an interior designer. A penchant for art is showing up in Robin's 12-year-old son, Marshall, a bright youngster who draws incessantly and shows much talent. Phyllis is convinced that her father immersed himself in his painting out of a need to rid himself of some of his personal demons and to replace his growing frustrations and restlessness with a hobby that could fill a growing gap in his life — this time a creative gap. Golf hadn't worked for him. He couldn't get engrossed in the game. It was only recreation. Fishing bored him. And maybe he didn't catch much anyway. It was painting that beckoned him. He was always comfortable with it and could drench the painting surface with an outpouring of emotion — joy, frustration, expectation — whatever he had inside. I interviewed him about his art. "What is your painting technique?" "What technique? I clean the cardboard before I paint on it. I use different sized paintbrushes to get the look I want. I use the paints from my auto body repair jobs, whatever is left over. I paint what I am feeling." "Where do you get your inspiration?" "I just go along with whatever I want to paint." "Where do you paint?" "In my garage. That has always been my studio." "Why do you paint?" "Because I like to paint." "What does your art mean to you?" "I like my pictures." His answers might appear terse, evasive, even impertinent. This is not the case. He cannot hear questions, or any other vocalization. The queries put to him are in writing, and this is the case with all dialogue in which he engages. He responds verbally, but is not always given to elaboration, especially on private, personal matters. His art fits into this category. His enunciation is characteristic of the deaf, as he can barely hear the sound of his own voice, even with the hearing aid he wears. He does not sign or read lips. These he avoided in his youth, in the hope that he would not draw attention to his problem. It doubtless has often had the unwanted effect. It is difficult to express these things without making Reynolds sound like a handicapped person. He is not. His face radiates warmth. He is eminently cheerful and friendly, positive, outgoing. He even jokes about his hearing deficit. "Being deaf isn't all bad," he says, with a chuckle. "You don't have to answer the telephone or listen to people who might talk too much." One would describe him as small in stature – slight, lean and agile. The temptation is to say that "for his age" he seems constantly energetic and full of life. But his age seems irrelevant somehow. He has a full head of white hair, eyes that shine with energy and mischief, and he is almost constantly smiling when interacting with others. He enjoys people. "Dad is an amazing man," says Robin. "His health is excellent. He doesn't smoke or drink. He loves Southern fried food, but has low cholesterol and low blood pressure. I don't think he has been seriously ill since he was a child." To this, Phyllis adds, "Dad insists on being well. It's his mindset." Though he is shut into a silent world, Reynolds is not mute. Far from it. He has learned to speak through his paint brush. And he speaks with authority. His language of colors and shapes is eloquent, and for the most part melodious and calming. Rarely does the voice reprimand, agitate, insult, shock or complain. While Reynolds is almost always jocular in public, one expects that his demeanor becomes serious when he is in his garage studio. But this is only speculation, for he always works in solitude. No one is allowed to be around him as he creates. These are private moments, affording him escape, release, inspiration. He will only show completed paintings. Reynolds first worked in a literal or "representational" style, but later discovered the freedom afforded by abstract painting. His raw creativity took flight. Over the past 20 years he has turned out an estimated 300 paintings. They cannot be called "canvases" because Reynolds has mostly used the materials at hand – cardboard for the painting surfaces. Along the way, he has had no tutor or mentor to guide or encourage him. He has learned to paint by painting, and though he appears to have all the makings of an artist of note, he is known by but a few for his talents and vision. Pete Paterson, a leading influence in the Wilmington arts community, hopes to change that. Retired from a successful career in corporate advertising, marketing and design, Paterson has taken an interest in Quimby Cassius Reynolds and is preparing to help the Wilmington artist show and market his work. "What makes his art compelling to me is that it seems very personal, expressive and fresh," says Paterson. "I think this springs from the fact that he grew as an artist without formal training. Actually this has been a plus for Mr. Reynolds. There's no filter between the artist and his creation. What he does comes straight from the gut." Paterson invests much of his own life in art — promoting it, encouraging artists and creating art as well. He has sold more than 80 of his own oils to collectors around the United States. He is associated with the Wilmington Art Association Gallery on Castle Street and teaches art at the NewHanoverCountySeniorCenter. Paterson has plans to find a prominent venue to introduce Reynolds' paintings and create a market for them. From his prodigious production, Reynolds has selected 40 or 50 that he is ready to present to the public. "This selection is outstanding," ventures Paterson. "His technique combines color and design in a thought process that probably forms as he paints, and results in shapes, textures and color that work together. There's a purity in his work that really speaks to the viewer. He has a lot to say, and says it with conviction." Paterson theorizes that Reynolds' remarkable visual skills have been enhanced by a world largely devoid of sound. "He is very comfortable with that trade-off, I think. He has made his limitations work for him. At 88, I believe he is just getting started," Paterson concludes.