In 1996 I published one issue of Deus Ex Machina. With our original title, The Secret Alameda, locals often assumed the magazine was about hidden restaurants, shopping tips and the like. Finally I abandoned it and came up with what I thought was a great alternative. But when I saw the expression on people's faces as they tried to pronounce Deus Ex Machina I realized my mistake. Only one issue exists, but it was quite special. Part of what made it special was the two-page spread featuring the work of Paul Reynard. I asked Paul if he'd write something to go with the two drawings we published. He gave me an eloquent hand-written page reproduced in the small image thumbnail. It reads:

 The image as emotional imprint, as a signature. On the paper light shines out of the graphite's shade; the imaginative drive draws out the Dream like silhouettes emerging on a feeling wall. In the meandering movements of the hand bygone impressions are remembered. Emotion surges through the grid of crosshatched strokes unveiling a New Reality, a new Language.

Paul taught at the School for Visual Arts, but had no interest in competing to make headway in the art world. Nevertheless, he produced a sublime body of work. In an interview, artist Jane Rosen (who also taught at SVA) reflects about her close relationship with Paul. A superb book (Dancing Camel Editions) of his work was published by Nancy Larson with help from Knowle Hanson. Reynard consulted on the project during the last years of his life.  - Richard Whittaker