Kelly Richardson - Forest Park - Kitchener-Waterloo Art Gallery

than the specificity of it as well. Though, the Lake District’s associations with early 19th centurypoetry seems fitting. I’m more interested in what these fairly ambiguous spaces allude to in terms ofour culture on the whole, rather than referencing something specific. That ambiguity allows for multiplereadings—and for me at least, a seemingly endless trail of thoughts.CM: Your work lends itself well to discussions of cinema—if not through its widescreen, 16:9 proportions,than certainly by its relationship to cinematic genres. The works featured in the KW|AG andHallwalls shows offer glimpses of quite differing locales and, though you mentioned that you favourthe ambiguous over the specific, there is still an overall sense of precision behind those choices. Atfirst blush, the works read as discrete tales with no apparent beginning or end, each existing in theirown nearly static version of time. But in considering the last six or so works you have made in recentyears, it is easier to see how they might be read as vignettes in what is essentially one larger, “frame”narrative.KR: I can understand that thinking. In some ways it is not dissimilar to any artist producing a body ofwork in whichever medium. There is certainly a larger framework which encapsulates the recent/currentdirection (as described above) but because of the cinematic language used, narrative often comes up inconversation. I’m not sure that I’m working with narrative any more than a painter would. I know whatI’m after and there is certainly a progression of ideas but to what end is unclear.CM: Since we started off talking about the sublime in a round-about way, I just wanted to return to that26