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Owen Kydd, The Boss, 2015, self-adhesive digital print, 64 × 95".

Owen Kydd

Monte Clark Gallery

Owen Kydd, The Boss, 2015, self-adhesive digital print, 64 × 95".

At what point does a picture cease to be one? Owen Kydd previously pondered this question through works he describes as durational photographs, which utilize extended single-shot video recordings to present static pictures of unmoving objects. The selection of new works on view here, however, marked a significant turn toward large-scale photography; the most salient feature of these works is that of their having been printed on adhesive-backed mural paper. These new works prompted a separate question: What is the point at which a depiction loses coherence?

Destiny and Gabriel (all works 2015) makes use of adhesive to pre-sent its composition in an unconventional manner. The black-and-white photograph depicts a woman walking toward a man sitting on a blanket under the canopy of a tree. But by wrapping the print around a convex corner of the gallery wall, Kydd obscured what would

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