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TWILIGHT AVENGER
2008 | photograph and high definition, 16:9 widescreen video installation

RELATED TEXT
Kelly Richardson: The Radiant Real
by David Jager (Canadian Art Magazine feature article)
Bewildered by Nature: Kelly Richardson
by Stefan St-Laurent (exhibition essay on Twilight Avenger)
Year in Review: Top 10 Art Shows
by Jager, Sandals and Schechter (Now Magazine review)
Kelly Richardson at Birch Libralato
by Dan Adler (ARTFORUM review)
The Twilight Avenger is not what he seems
by Gary Michael Dault (Globe and Mail review)
Nature's calling: Kelly Richardson questions what's real
by David Jager (Now Magazine review)
Kelly Richardson at Birch Libralato
by Terence Dick (Akimblog review)
The Observer Observed: Kelly Richardson's Twilight Avenger
by Jerome Stueart (science fiction writer blog post)


PUBLIC COLLECTIONS
Albright-Knox Art Gallery, Buffalo, USA
Art Gallery of Ontario, Toronto, Canada
Bank of Montreal,, Canada





Equal parts sci-fi myth and forest fable, dreamy nocturne and dazzling special effect—Kelly Richardson’s Twilight Avenger begins with a fairytale-worthy image of a misty, moonlit forest clearing inhabited by a majestic stag who emanates a luminous green vapour. Quietly grazing amidst the ambient chatter of other forest dwellers (the hoot of an owl may portend an imminent threat) our protagonist occasionally rears his head, shifting his gaze towards us.

Like much of Richardson’s work, Twilight Avenger poses multiple questions amidst its calculated ambiguities. The scene is at once visually convincing and obviously synthetic, peaceful and disquieting, shifting between stillness and action. As the scene unfolds, questions remain whether the protagonist is some sort of forest sentinel, as the title implies, or perhaps a victim of a man-made mishap.

Ultimately, Richardson leaves such questions unanswered, leveraging our belief in the visual document with the evocative power of the imaginary. Through painstaking application of digital effects to documentary images (Richardson filmed the deer and landscape elements in Canada and England respectively) she invites us to question the integrity of images and asks viewers to consider our increasingly mediated relationship with nature.

Matthew Suib and Nadia Hironaka for Screening