In this exhibition, Kelly Richardson toyed with the limits of photography and video while playing with the notion of the manufactured landscape. The photographs Scene Setter #3 and Scene Setter #4 (both 2008), for example, depict lush picturesque lakes bordered by trees in an environment imbued with the artificial (the perspective appears slightly askew; the blue sky so flat and unmodulated as to imply digital enhancement). Unfortunately, however, the images are too subtly manipulated to stray far from a sentimental postcard aesthetic.

Scene Setter #1 and Scene Setter #2 (both 2008), however,