All of my photographic-based work is a response to the subjective nature of domestic photographs. A common process is obscurification - and the simultaneous implementation of the inverse actions destruction and beautification. Each subject falls victim to these forces, and become impressions of both a presence and an absence, leaving the viewer unsettled.

Culled from an archive of slides taken in the 1950's and 60's, a time in American history that is often associated with economic stability and domestic bliss. The images utilized in this current series, Interruptions, are manipulated by a visual language of decoration and cancellation that both upholds and dismantles that ideal. Influenced in part by Proto-Renaissance paintings, these contemporary iterations use accessible materials and familiar subjects to create moments of mystical fiction. The glitter flocking embellishments are craft-store-versions of punched gold-leaf; photography and digital editing software a modern substitution for oil paint. Each piece contains calculated, surreal, and even supernatural moments within familiar contexts, and to raise further questions about life, death, and resurrection.

A selection of work from Interruptions, was included in the two-person exhibition, Remnants: Kelly Hider & Nick DeFord, at the Boyle Family Gallery, Lindenwood University, Saint Charles, MO in November, 2014. A solo exhibit of the work was on exhibit at the Central Collective in Knoxville, TN in September, 2016.

Valley, 23.5" x 22" 24" x 36" 24" x 36" 36" x 24" 31.5" x 23.5" Birthday, 26" x 24" Birthday (detail) Untitled 2, 24" x 29" 24" x 29" Untitled 2 (detail) May Baby, 36" x 30" May Baby, (detail) Monolith, 36" x 24" Monolith (detail) Central Collective, September 2016 Work Friends II