For although Reynolds is most widely known as a sculptor, he possessed the capacity to be an inspirational teacher as well as an artist, and he fulfilled both of these roles with his own particular kind of integrity.
Apropos of his Bird Skull Series, he explained "...it's symbolic of primaeval life which runs through nearly all my themes ... an upthrust of growth and energy.
The following year, he gained the post at Ipswich School of Art, for which his application was very exceptional in showing evidence of his talented techniques.
In conjunction with these artists and later Edward Barker of Norwich, Reynolds's multiple pursuits led him to run exhibitions of East Anglian Sculpture since 1949 to 1966.
The very first one happened indoors in Ipswich School of Art, while the ones that followed gave breath to parks and castle gardens of East Anglian areas.
Additionally, once the Corn Exchange, Ipswich, was transformed into an Arts and Entertainment Centre, Reynolds organised the 'Sculpture in Anglia' Exhibitions of 1975, 1978 and 1981.
In addition, he made the 8 ft. aluminium sculpture on a theme of plant growth for Messrs Fison's factory at Stanford-le-Hope in Essex.
[5] Reynolds work is inceded in the collections of The Minories (Victor Batte-Lay Foundation), Christchurch Mansion and Norwich Castle Museum and Art Gallery.
Reynold's contribution to Art in East Anglia, as an artist, colleague and teacher, when combined with his sculpture and drawings, leaves a considerable legacy' .