Keith M. Francis
Art/CV
“Press Kit”
American Beauty
  • Installations & Conceptual Works
  • The Unspoken Veil
  • UNTITLED, MELTING
  • UNTITLED
  • Welcome!
  • White Fence
  • Border Nation
  • Greed! (Illuminating Apathy)
  • Exploitation
  • Let’s Vote
  • Sculpture & Assemblage
  • Unseated
  • 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 & Commissions
  • Mother Nature: The Common Thread
  • The Common Thread
  • #146
  • LoveLocks
  • Glittering Patterns
  • #401
  • White Fence
  • Ole Miss: University of Mississippi
  • The Firefighters
  • Mixed Media & Relief
  • Shirley Temple
  • Soft Power (Compressed)
  • Sins of my Forefathers
  • Crimson Legacy
  • The Great Narcissist
  • Share A Coke
Exhibitions
NEWS
Press
HYPERALLERGIC
Contact Me!
Keith Francis
Keith M. Francis
Art/CV
“Press Kit”
American Beauty
  • Installations & Conceptual Works
  • The Unspoken Veil
  • UNTITLED, MELTING
  • UNTITLED
  • Welcome!
  • White Fence
  • Border Nation
  • Greed! (Illuminating Apathy)
  • Exploitation
  • Let’s Vote
  • Sculpture & Assemblage
  • Unseated
  • 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 & Commissions
  • Mother Nature: The Common Thread
  • The Common Thread
  • #146
  • LoveLocks
  • Glittering Patterns
  • #401
  • White Fence
  • Ole Miss: University of Mississippi
  • The Firefighters
  • Mixed Media & Relief
  • Shirley Temple
  • Soft Power (Compressed)
  • Sins of my Forefathers
  • Crimson Legacy
  • The Great Narcissist
  • Share A Coke
Exhibitions
NEWS
Press
HYPERALLERGIC
Contact Me!

White Fence

2020, wood and aluminum base, 100 X 108 X 72 in.

A large-scale architectural sculpture titled "WHITE FENCE" by Keith Francis (2020), measuring 100 x 108 x 72 inches. The work is composed of numerous vertical wooden pickets, painted a clean, semi-gloss white and mounted on a low-profile aluminum base. Unlike a traditional straight fence, these pickets are engineered with dramatic bends and tilts, leaning inward and outward to create a dynamic, undulating corridor. The spacing between the pickets is wide enough for a person to pass through. The "bends" in the wood are a deliberate reference to Martin Luther King Jr.’s philosophy of passive resistance.  Some of the vertical elements intersect to form subtle cross-like shapes, referencing colonial history. The sculpture is shown installed in a gallery with white walls and polished concrete floors, where the overhead lighting casts long, rhythmic shadows that extend the reach of the physical pickets. The work serves as a critique of the "American Dream" and the barriers to equity.
A large-scale architectural sculpture titled "WHITE FENCE" by Keith Francis (2020), measuring 100 x 108 x 72 inches. The work is composed of numerous vertical wooden pickets, painted a clean, semi-gloss white and mounted on a low-profile aluminum base. Unlike a traditional straight fence, these pickets are engineered with dramatic bends and tilts, leaning inward and outward to create a dynamic, undulating corridor. The spacing between the pickets is wide enough for a person to pass through. The "bends" in the wood are a deliberate reference to Martin Luther King Jr.’s philosophy of passive resistance.  Some of the vertical elements intersect to form subtle cross-like shapes, referencing colonial history. The sculpture is shown installed in a gallery with white walls and polished concrete floors, where the overhead lighting casts long, rhythmic shadows that extend the reach of the physical pickets. The work serves as a critique of the "American Dream" and the barriers to equity.

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