In this series of 19 paintings, Kelly takes us on his own personal Hero’s Journey presented as a potent cocktail of high-concept irony and expressionist action, teetering somewhere between a provocation and a punchline. Drawing upon the ancient, human act, of intuitive spontaneous mark-making and the conflicting cold, repeatable, machine-like industrial processes of the silkscreen this direct conflict stylistically supports the themes and content explored . By bridging human vs machine, the past and the present, emotive vs intellect through the merging of the mechanical precision of silkscreen techniques with audaciously expressionistic marks we are invited into the possibilities of now that Kelly presents to us. Here, facetious declarations and sardonic meditations on the pursuit of success play a pivotal role. Part confessional, part myth-making, wholly self-aware, these works challenge the viewer to engage the labyrinth of critical thinking. By placing the text above the painted surface the declarations hover above concrete meaning. Toying with the malleable nature of language through the hint of double entendre, in turn foregrounding the search for truth underscoring its often subjective and fluid nature. Words, in this context, become emblematic of the hypocritical dualism that the artist provocatively presents to his audience.

Kelly's sprayed marks offer glimpses into both the subtle ethereal nature and manipulated landscapes of modern society. The metallic coldness pressed against the nebulous greens evokes both the untouched natural world and the industrialised environments of our time. Red, a dominant yet sparingly used colour bookending this body of work, symbolises passion, danger, and the lifeblood essential for a gifted existence—the all-destructive power of fire, evoking the myth of the Phoenix. This ancient bird, which regenerates from its ashes, embodies both the agony of destruction and the ecstasy of rebirth, reflecting the tumultuous journey of the artist and, by extension, humanity itself.

The works suggests a private declaration of independence, raging against the constructs that define and confine us. In "It Was Written," the viewer is invited to contemplate the complexities of truth and the dualities inherent in our quest for understanding.

Take, for instance, the provocative painting titled The Infinite Possibilities of Not Knowing (I Don’t Know) with the text adorned upon the canvas boldly claiming ‘WHATEVER YOU THINK THIS IT ISN’T THAT’. This piece invites us to embrace uncertainty, to revel in the myriad possibilities that ignorance can foster evoking echoes of the Zen tradition of the Koan. Similarly, ‘I don't want to be a freak I just can't help myself’ - As God Made Me reflects a poignant acceptance of one's intrinsic nature, a defiant assertion of individuality in the face of societal conformity whilst also shifting responsibility in a tongue-in-cheek way upon the “Creator”.

‘I GUESS I’VE JUST HAD MY FIRST TASTE OF THE FILTHY SIDE OF THIS BUSINESS’ - Nothing Feels As Good As Selling Out Tastes" juxtaposes the disillusionment of commercial success with the visceral satisfaction it can bring. This duality speaks to the seductive allure of success at the price of compromise, the bittersweet triumph of the faustian bargain.

Kelly's sardonic humour shines through in Don’t Stop Now, ‘WHATEVER DOESN’T KILL ME MAKES ME HORNY’ - a brash acknowledgment of resilience intertwined with desire and how closely linked, sex and death can be. This theme of perseverance amidst pain, as well as the rewards it brings is further echoed in ‘PREGNANT WITH SUCCESS’- I Didn’t Pull Out I Pulled Through, the womb ripe with promise and potential where the metaphor of pregnancy becomes a testament to endurance and creative fruition.

"Thinking you are a good person, but really you are selfish enough to be great - The Truth Is It Feels Great challenges our moral compass, suggesting that greatness often requires a ruthless, self-centered drive. The work compels us to question our own motivations and the ethical implications of our ambitions.

In "It Was Written," Kelly's paintings are a rich tapestry of contradictions and contemplations, urging viewers to delve beyond surface interpretations and explore the multifaceted nature of truth, success, self-identity and destiny manifest. Through this interplay of titles, text and colour Kelly brashly navigates the terrain of contemporary existence, offering a mirror to our fractured realities and the relentless pursuit of meaning, understanding and ambition.