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- Day at the Beach 3D 2/10, 2025
- Day at the Beach 3D ed. of 10, 2025
- Double Feature 3D ed. of 10, 2025
- Feature Length 3D ed. of 10, 2025
- Indoor Pool 3D ed. of 10, 2025
- Outdoor Pool 3D ed. of 10, 2025
- Study painting on panel of “Tower”, 2025
- Widescreen 3D 5/10, 2025
- Outdoor Pool 3D 3/10, 2025
- Study painting on panel of “Campfire”, 2025
- Cinesphere 1/20, 2025
- Cinesphere 2/20, 2025
- Day at the Beach 3D 1/10, 2025
- Double Feature 3D 1/10, 2025
- Double Feature 3D 4/10, 2025
- Double Feature 3D 5/10, 2025
- Exit, 2022
- Feature Length 3/10, 2025
- Feature Length 3D 1/10, 2025
- Feature Length 3D 2/10, 2025
- Feature Length 4/10, 2025
- Indoor Pool 3D 1/10, 2025
- Indoor Pool 3D 2/10, 2025
- Indoor Pool 3D 3/10, 2025
- Into the Station, 2023
- Island Beach, 2022
- Outdoor Pool 3D 2/10, 2025
- Outdoor Pool 3D 1/10, 2025
- Over the Ocean Colour Grade Version 2, 2018
- Over the Ocean Colour Grade Version 3, 2018
- Sterling TV, 2022
- Study drawing of “Island Beach”, 2021
- Study drawing of “Widescreen”, 2025
- Study painting on panel of “Bonfire”, 2025
- Study painting on panel of “Cinesphere at Night”, 2025
- Study painting on panel of “CNE”, 2025
- Study painting on panel of “Country Fair”, 2025
- Study painting on panel of “Sunset on the Cinesphere”, 2025
- Study painting on panel of “Telefoon”, 2025
- Study painting on panel of “Woods”, 2025
- Suitcase, 2022
- Sun Bather Two, 2020
- Swim Left, 2022
- Swim Right, 2022
- The Runaways Colour Grade Version 2, 2020
- Vanishing Point, 2022
- Widescreen 3D 1/10, 2025
- Widescreen 3D 2/10, 2025
- Widescreen 3D 3/10, 2025
- Widescreen 3D 4/10, 2025
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Kelly Grace's painting might be described as close-up views of far away feelings. Appearing by turns like stills from classic film, anonymous Polaroids in found album, or half-remembered flashes of a recurring dream, they wander the misty spaces between memory and fiction. This tasks also leads Grace to imbues her work with a sense of autonomy, often using themes of mystery, desire, and strength to portray women in the leading roles of their own lives. Other symbolic and cinematic cues - the cold reflection in a pair of reading glasses, a closed hand on a rotary phone receiver, a sidelong glance through a rear view mirror - are narrative openings, road signs we might follow to imagine the story unfolding beyond the frame. whether mnemonic, melancholic, or both, Grace's painted world's are all about perception: the lense through which we look backward, forward, and inward.