[1] Reid Kelley's black and white videos fuse classical drama, modern literature and contemporary pop culture into observations on gender, class, and urban development.

[4] Writing in 2014, Daniel Belasco, Curator of Exhibitions and Programs at the Samuel Dorsky Museum of Art at State University of New York at New Paltz, noted that Reid Kelley works in the vanguard of a generation that blends the digital and the analog to discourse with the millennia.

Blending Homer and Cindy Sherman by way of Virginia Woolf, Reid Kelley tells finely wrought narrative epics, rife with wordplay and art historical references, set in World War I, nineteenth-century Paris, and classical antiquity.

[5]While studying at Yale, Reid Kelley was able to benefit greatly from the archives of students who had left for World War One, realizing the importance of poetry for understanding both artistic and popular culture of the time.

[3] Additionally, in her research, Reid Kelley discovered that the female experience of these events was largely lost to the past, eclipsed by a profusion of poetry, literature and art produced by men.

[3] Eleanor Heartney emphasized this point when she wrote, The films they create riff on commedia dell’arte, German Expressionist movies, and newspaper comic strips, reimagining them in a format that resembles an animated drawing.

[3] Also in these works, the themes of feminism and empowerment of women's voices remains fairly constant, but her style tends to vary depending on the subject matter of her projects.

[10] In this work, Reid Kelley follows the theme of storytelling for women lost in history through witty lines and sharp humor contrasted against the background of sorrow and hardship.

[13] Like her other works, Reid Kelley intertwines her poetic storytelling with humorous additions to bring light to the story of a forgotten and doomed woman in a highly romanticized time period: the French La Belle Époque.