Demon of the Deep 

Editor: Here we have Ken Kelly’s "Demon of the Deep," made using acrylic paint. The scene depicts a large, menacing figure lurking behind two oblivious divers. It's… very dramatic! I'm struck by the contrast between the detailed figures and the murky depths. What strikes you when you look at this piece? Curator: This piece feels like a hyper-masculine fantasy made manifest in oil paints, and really prompts me to think about its means of production. What kind of labor goes into creating this imagery, and for whom? Are these paintings essentially a commodity meant for male consumption, relying on both eroticism and fear? Editor: I hadn’t thought about it like that. So you’re suggesting that the artist’s choices are driven by the market he's trying to tap into? Curator: Absolutely. Kelly's process of layering acrylics, creating this highly rendered surface, can be understood as contributing to its commercial appeal. Every gleaming highlight, every carefully sculpted muscle serves to enhance its commodity value. What happens if we look at those divers’ equipment – the masks, the tanks? Editor: I see what you mean! Are these diving suits contributing to a consumeristic drive to commodify underwater exploration? It also makes me wonder if that demon itself is even supposed to be viewed as desirable… Curator: Exactly! The ‘demon’ is but another component manufactured in this production. In this underwater nightmare, all become commodities. This approach gives us insight into the power dynamics at play – and not just within the painting, but outside, in the art world itself. Editor: That’s fascinating. I hadn't considered the economic and social implications of the artistic choices. Curator: Seeing art as a product helps unveil a new lens with which to critically look at art as it continues to be commercialized. Editor: This perspective shifts the way I interpret everything!