Keith M. Francis
“Press Kit”
American Beauty
  • Durational Performance & Site-Specific Installations
  • UNTITLED, MELTING.
  • UNTITLED
  • The Relative Ground
  • Welcome!
  • White Fence
  • Border Nation
  • Greed! (Illuminating Apathy)
  • Exploitation
  • Let’s Vote
  • Kinetic & Repurposed Objects
  • When I Grow Up...
  • Time?
  • The Weights of Choice
  • TILT
  • Game Over (the only winning move is not to play)
  • Enough is Enough
  • The Omniscient Frame
  • Greenspace
  • Subtleties of Indoctrination III
  • Bibi’s Gambit
  • Violation
  • We Reap What We Sow
  • What If? (Confronting the Abyss)
  • The Gamble of Governance
  • Who's Watching Who
  • The New Religion
  • Democracy: It’s a Game
  • Childhood Cowboys
  • Made in China
  • Caste #2
  • A Cautionary Tale
  • JUCHE
  • Us and Them
  • Public Art & Civic Monuments
  • The Common Thread
  • #146
  • LoveLocks
  • Glittering Patterns
  • #401
  • White Fence
  • Depletion
  • The Firefighters
  • Social Print & Mixed Media
  • Soft Power (Compressed)
  • Sins of my Forefathers
  • Crimson Legacy
  • The Great Narcissist
Art/CV
Exhibitions
NEWS
Press
HYPERALLERGIC
Contact Me!
Keith Francis
Keith M. Francis
“Press Kit”
American Beauty
  • Durational Performance & Site-Specific Installations
  • UNTITLED, MELTING.
  • UNTITLED
  • The Relative Ground
  • Welcome!
  • White Fence
  • Border Nation
  • Greed! (Illuminating Apathy)
  • Exploitation
  • Let’s Vote
  • Kinetic & Repurposed Objects
  • When I Grow Up...
  • Time?
  • The Weights of Choice
  • TILT
  • Game Over (the only winning move is not to play)
  • Enough is Enough
  • The Omniscient Frame
  • Greenspace
  • Subtleties of Indoctrination III
  • Bibi’s Gambit
  • Violation
  • We Reap What We Sow
  • What If? (Confronting the Abyss)
  • The Gamble of Governance
  • Who's Watching Who
  • The New Religion
  • Democracy: It’s a Game
  • Childhood Cowboys
  • Made in China
  • Caste #2
  • A Cautionary Tale
  • JUCHE
  • Us and Them
  • Public Art & Civic Monuments
  • The Common Thread
  • #146
  • LoveLocks
  • Glittering Patterns
  • #401
  • White Fence
  • Depletion
  • The Firefighters
  • Social Print & Mixed Media
  • Soft Power (Compressed)
  • Sins of my Forefathers
  • Crimson Legacy
  • The Great Narcissist
Art/CV
Exhibitions
NEWS
Press
HYPERALLERGIC
Contact Me!

Greed! (Illuminating Apathy)

2023, Found object, LED, 25" X 80" X 5".

A wall-mounted multimedia sculpture titled "Greed! (Illuminating Apathy)" by Keith Francis (2023). The artwork measures 25 x 80 x 5 inches and is presented on a clean white gallery wall between two large windows. The piece is a subverted version of a commercial Shell gas station sign:  The First Character: A large, three-dimensional red dollar sign ("$") replaces the original letter "S".  The Remaining Letters: The letters "h," "e," "l," and "l" follow, appearing in a standard red sans-serif corporate font.  Lighting: Internal LED lights create a bright yellow "halo" or glow behind the letters "hell," making the word stand out and creating a high-contrast visual.  The combined visual reads "$hell". The artist intended this transformation to serve as a visceral critique of corporate profit-seeking at the expense of environmental stewardship and to represent the "dire, almost biblical consequence" of corporate negligence.
A wall-mounted multimedia sculpture titled "Greed! (Illuminating Apathy)" by Keith Francis (2023). The artwork measures 25 x 80 x 5 inches and is presented on a clean white gallery wall between two large windows. The piece is a subverted version of a commercial Shell gas station sign:  The First Character: A large, three-dimensional red dollar sign ("$") replaces the original letter "S".  The Remaining Letters: The letters "h," "e," "l," and "l" follow, appearing in a standard red sans-serif corporate font.  Lighting: Internal LED lights create a bright yellow "halo" or glow behind the letters "hell," making the word stand out and creating a high-contrast visual.  The combined visual reads "$hell". The artist intended this transformation to serve as a visceral critique of corporate profit-seeking at the expense of environmental stewardship and to represent the "dire, almost biblical consequence" of corporate negligence.

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