Reid says that he paints from rather than on. His subject since the 1950s has included the figure. A transformative eros of man and/or woman combined with landscape came later but that is what he paints from. He says his arm knows what to paint more than his head does. He states in his memoir that he wants his work to look “unlaboured, clear, confident, controlled,”[2] and tries always for urgency and fluidity in the execution.

Work in Progress presents a selection of previously un-exhibited works from the Gallery 2 Permanent Collection. The move of the collection into new lateral art racks has revealed the full breadth and depth of the collection – from very large paintings to very small prints and everything in between. See work by William Featherston, Joe Fafard, Michael Morris, Nancy Boyd, and more.