Kelly Richardson: Creating Potential Futures
Interview with Pau Waelder (April 10, 2022)
I’ve always been concerned with our understanding and by extension, our appreciation of the natural world in relation to constructed environments where truth is often difficult to locate. For decades, we’ve “understood” the world through screens which offer a complete disconnect from our relationship to the natural systems which sustain us. I have serious concerns that over time, we’re diluting our appreciation through this rupture, further amplifying generational amnesia when we desperately need to be moving in the opposite direction.
5 Questions to Kelly Richardson
Interview with Marta Herford (2021)
In the Marta exhibition “Deceptive Images”, the relationship between artefact and document becomes blurred when we enter into the constructed world of Kelly Richardson’s video work. It blurs – backed by sound – the separating line between reality and fiction. In this interview, the artist answers our questions.
Lyn Richards (March 21, 2022)
Richardson points out the hubris in our fantasy of human specialness, our refusal to acknowledge we’re simply one of many species within the world’s astonishing web of life, and our denial that whatever we do to the environment, we do to ourselves as well. Richardson courts irony by turning the same digital media that potently enables our detachment from the natural world into a powerful tool for examining the myth of endless growth driving humanity’s misguided labours toward a catastrophic future.
Embers and the Giants
George Vasey (2021)
Are you sitting down? A recent World Wildlife Fund report states that between 1970 and 2010, the world lost 52% of its biodiversity. As income inequality increases, the alarming destruction of plant and animal life accelerates. Our economic structure is predicated on a system that serves the few by exploiting everybody and everything else. Many people believe we’re in the midst of a mass extinction and we urgently need to adjust our relationship to the nature. The pessimists among us, think it’s too late.
Helen James (2018)
The fear of losing wilderness and a belief in wilderness preservation is an international concern, in the western world at least, and this digitally styled, fictional work suits these digital times as much as Adams’ approach in analogue days gone by. Both prophetic and reflective, this work reminds us how important it is for our visual delight to be awakened so that we engage with the notion of landscape through image in thoughtful ways about more than one place.
Claire Scherzinger on Kelly Richardson
The most important aspect of Richardson’s practice is how she takes both the most powerful parts of painting and its failures and transforms them into something on the edge of the ineffable. Her works become entities just above our heads, but forever in our minds… a portal for the viewer to step into as the room transforms into a theatre of the mind.
The Weather Makers
Richardson’s work illuminates the consequent existential crisis for humanity. In her meditation on present and future destruction, she encourages us to face an end where narrative has disappeared – where the human experience, and story, is over, and where reality is confined to moments on a loop. She does this so hypnotically and carefully that the effect is profound…
Tales on the Horizon
Richardson’s images make the hysteria of the present a little more bearable, and the threat of the sublime a little more comprehensible, or at least accessible to contemporary experience in a way that is on par with the very best artists from the enlightenment, romanticism, modernism and post-modernism…
Shadows from the Future
Kelly Richardson, a Canadian artist living and working in the northeast of England produces large-scale, cinematic videos that are associated with the 18th century notion of the sublime. Primarily through theorists such as Longinus, Edmund Burke and Kant, the idea of the sublime…
In John Milton’s epic Paradise Lost, we are presented with the age-old story of the fall of man; partially due to satanic influence, partially due to our own temptations. What saves Milton’s work from sermonising is not just his poetry, but his acute awareness of moral ambiguity and complexity…
Lauren Dyer Amazeen
Kelly Richardson’s uncannily evocative works are as haunting as they are beautiful. The UK-based Canadian artist works meticulously with advanced digital technology, interwoven with dramatic natural wilderness landscapes, to construct intricate imagery that projects a dystopian future in which shadowy technological developments…
The Slovenian philosopher Slavoj Žižek criticises the liberal view of ecology as something harmonious which we threaten to disturb through our effect on the environment. He does so on the grounds that nature has always contained a great deal of destruction and it makes little sense…
Kelly Richardson and Blockbuster Realism
Why don’t more artists play with this intoxicating substance? Well, few artists have the time, money or skill to explore this language. What’s more, artists are creative explorers, and making hyperreal CG is also not a naturally exploratory process – results are not immediate, and it’s hard to replicate the malleability of a painting in progress.
Legion, Mariner 9, Orion Tide
If the stillness instilled in a landscape suggests a sense of permanence, then it’s an impression subtly strengthened by the presence of the sea. As scattered children play on the wide expanse of sand at Whitley Bay, a scrap of wrapper flits raggedly by, and the sea stretches out, blue-grey towards the distant sun…
This Island Earth
From idyllic Eden to environment in peril, landscape has been a continual source of inspiration to Kelly Richardson grounding her explorations in digital photography and video. Starting with her earliest appropriations of horror movie landscapes in the Supernatural Series (2001-2004)…
The metamorphic potential of art to transform space can render it a sublime physical and perceptive experience. Such altered worlds can be found in the melancholic terrains of Kelly Richardson, whose projected video installations channel exterior and interior landscapes into a new experiential space…
Kelly Richardson: Mariner 9
Hans Rainer Sepp
This phenomenological analysis of the video installation Mariner 9 made by the Canadian artist Kelly Richardson in 2012 will gain a basic concept of the virtual. It will be realized by three preparing steps and a final conclusion. First, it will be shown in which way the experiencing of Richardson’s…