Reid’s work is a testament, symptom, and purge of media over-identification: situating herself as a kind of human ‘broadband’, she streams the experience of information overload in her large-scale photographic installations. These replicate the omnipresent bombardment of media messaging, as well as the internal expanse of the psyche. Her consumed images are re-ordered, re-authored, and personalised, subsumed into a warped constructed identity. She Gets Even Happier presents dozens of photographs, drawings, and collages on roughly cut foam-board, each humorously hung with a wire, a cartoon lingo for ‘picture’. “I wanted to find a way to present photo images on that kind of scale,” Reid explains. “Their multiplicity could also be something bigger, operate more ambitiously, be more monumental. It also allows me to go beyond the photo, to write, scrawl beyond the image, to play with something that’s a bit more autographic or direct – a bit like graffiti or vandalism.”

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