Authorship and authenticity are primary concerns within Kelley Walker’s work. Hijacking material from the public domain, Kelley further complicates the everyday transaction of images, converting the banality of information media into instances of sublime horror. In He tried to become so familiar with his equipment that using it became as automatic as driving a car, Kelley enlarges a political advertisement to grand scale, converting the original press photo cum propaganda into a fiction, removed from context one step too far. Spattering the image with abstracted puddles of electric blue, Walker turns castastrophe and instigation of protest into video game violence, portraying the morbid pastime of an unseen super-villain. Drawing allusions to terrorism, Walker highlights a more subtle threat: the potency of media as both cause and symptom of anxiety and instability.

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