Beverly Rayner has been building mixed media photographic constructions for over 30 years. She freely uses whatever type of photographic process best serves her purpose for each piece, including traditional black and white photographs, tintypes, daguerreotypes, Van Dykes, cyanotypes, lumens, cameraless, or digital images, as well as found photographs and negatives, even x-rays. Rayner frequently alters or physically manipulates the images through painting, peeling, cutting, embedding in wax, etc. Her use of other materials (both cast-off and new) is even more diverse, including wood, metal, lenses, paper, beeswax, and a vast array of objects. The images are integrated into some combination of these materials, a process that culminates in the formulation of singular, image-object hybrids.
Rayner’s work is propelled by a fascination with the everyday workings of human nature. She mines the situations that reveal the interplay between the alternately humorous and dark corners of experience, the uncertain moments when the logical and the inexplicable tease each other or the borders between fact and fiction blur. She is interested in how personal and cultural perspectives color our perceptions and imprint the psychological quirks that lurk within our minds. Her work investigates the challenges we face in our relationships to one another, our efforts to negotiate with nature through science and technology, the ways in which we construct our individual realities, and our attempts set up systems to navigate life in this world.