Kelly Richardson - Forest Park - Kitchener-Waterloo Art Gallery

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FOrest Park, 2007KR: The streetlights in the space have been artificially lit in video post production in a way which notonly mimics the visual effect of mercury heating up within the first few minutes of turning on at duskbut as you’ve mentioned, flicker as if they are in conversation with the large choir of crickets chirpingwithin the landscape. The effect used has taken months to create on a home computer. I get theimpression that because special effects are found so readily within film and television people assumethat it is a fairly straight forward process to create them but it is actually fairly difficult to achieve onconsumer equipment given the huge amounts of data a single machine has to process. So the processfor producing this piece has been quite tedious, you’re not wrong—though by comparison to some of myideas, it has been a breeze.24
CM: In contrast to those “scratch-built” effects, found materials and images also seem to find their wayinto your practice, whether it’s in earlier sculptural works (broken drumsticks rebuilt with cork) or thenewer video works such as Exiles of the Shattered Star. Would you say that working this way, buildingfrom what’s already available, comes naturally to you?KR: Yes, very much so. I tend to collect elements of things that I come across within the everyday whichcatch my eye for one reason or another and hold onto them until they develop somewhat naturally intofully formed ideas, usually involving a combination thoughts and found materials, scenery, etc.CM: Is Forest Park also, in some way, in some way an outcome of that tendency? Without any identifyingsignage, this cleared lot could be anywhere in the world. I wonder if the specificity—namely historicaland cultural baggage—of an existing location informs your decision to integrate it into your work?KR: In the case of Forest Park, no not really; it’s more about the ever sprawling suburbia in Canada,overnight neighbourhoods full of promise and perfection. This one caught my eye because of the streetlightswhich had been installed despite the not-so-temporary lack of development which I found absurdlyamusing: the idea of illuminating an empty space. The ironic name for the subdivision “Forest Park”helped as well, considering that they cleared the land—sparing a spitting of trees in the bulldozer’swake. I originally filmed the landscape not knowing what I would eventually do with it, which lead ontoimagining electrical intelligence and a rather unlikely conversation.The location for Exiles of the Shattered Star was mainly chosen for the dramatic landscape, rather25
Page 4 and 5: CONTENTSPeril, Glee John Massier6Pe
Page 6 and 7: Peril, Glee By John MassierDecades
Page 8 and 9: added detail of a clouded sky scrol
Page 10 and 11: Her gestures are overt and obvious,
Page 12 and 13: In Exiles of the Shattered Star (a
Page 14: More accurately, Wagons Roll is Ric
Page 18 and 19: Forest Park, 2008, Installation Vie
Page 20 and 21: Perpetual Anticipation:Crystal Mowr
Page 22 and 23: your pick) or some kind of human/an
Page 26 and 27: than the specificity of it as well.
Page 28 and 29: Detail of swamp thing (from the Sup
Page 30: About the ContributorsPrior to join
Page 33 and 34: 2000 Platform Gallery, “Jello”.
Page 35 and 36: SELECTED REVIEWSDault, Gary Michael
Page 37: Kelly Richardson wishes to thank Cr

Kelly Richardson - Forest Park - Kitchener-Waterloo Art Gallery

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