2017

Archipelago - NKB Gallery

Known widely for his realist figurative land and ocean works – Lands End follows on from Smith’s popular 2017 exhibition (Archipelago) of ‘island paintings’ – which are gaining a momentum of their own and mark a turning point in the artist’s practice.

This latest series (Lands End) was born out of the artist’s visit to TiriTiri Matangi, a small island off Auckland’s coast, the home of a wildlife sanctuary and a restoration project to save our native fauna. In the last 30 years, hundreds of thousands of trees have been planted by volunteers and all predators have been removed. There have been 12 bird and reptile species translocated onto the island as well as the many different varieties that have made their own way there. The trip inspired Smith to join the Pestfree 2050 project – a hands on project which involves walking through the bush laying traps, to eradicate all animals deemed pests.

Despite the artist’s commitment to protect defenceless native species, Smith is conflicted in his undertaking: “Possums and rabbits are simply struggling for their own existence and hold no responsibility for being relocated. All of these ‘pest’ animals were introduced by our ancestors, and they adapted quickly – to the detriment of the native birds, insects and fauna. Trying to balance the scales and put right the mistakes of descendants has lead me to create these images as ethical sounding boards, attempt to convince myself that the killing of one species is validated, for the betterment of another species”

These new paintings are described by the artist as ”nostalgic visions of an imagined future, where we live in harmony with our environment and the life surrounding us; yet the tide still rises”  They are unashamedly of the Romantic movement, employing romanticism as a weapon for environmentalism. One painting in particular refers to the flow of time (with a quirky nod to the 1960’s classic movie Time Machine) – it’s relentless forward motion – and to the very real possibility of returning extinct native wildlife back to the land of the living.

Lands End presents the precipice on which we all perch, between the impenetrable forests and the endless ocean. There is wildlife here, birds and insects and marine-life, made strange by their size. But few birds have taken to the air, for there isn’t anywhere left to go. Most, like the solitary villas, are silent watchers – waiting for their restoration.

Pocket Edition - NorthArt Gallery

The technicolor paintings depict a landing party typically portrayed each week on the television show Star Trek. They all wear the red uniform of a security detail but have the heads of critically endangered native birds. Their fate is uncertain and their costume holds little hope for their survival without some form of intervention.

The black and white images are of the fallen. Each an individual portrait making eye contact with the viewer. Forever locked within the attributes of an old photograph, they have become mementos of a growing collection; extinct New Zealand native birds - there are, as yet, no extinct predators.

Estranged - Depot Artspace

I am a member of a diverse group of international artists living in New Zealand. Here is a link to our group website Usan (Korean for Umbrella). We're a multi-disciplinary group who work in mediums such as Digital Presentations, Fire Kiln Ceramics, Installation, Sculpture and Painting.

Falling within the Fine Arts spectrum, our work is versatile, contemporary and with a worldly awareness and contextualisation. From a firm foundation that has evolved from the rigour of MFA study, we are multi-generational and multi-disciplinary. Peeling back the very existence of identity as diasporic Pacific Rim practitioners, our work represents the most current and heartfelt topics.

Our inargural exhibition was held at Depot Artspace in Devonport, Auckland New Zealand on the 30th September 2017. 

 

My project for the exhibition Estranged is my first sculpture/installation piece. It comprises of a large three metre long Orange Roughy fish (NZ's poster child for the fishing industry) fabricated from the Auckland City Council 60 litre rubbish bags. The bladder of plastic will be inflated with air and incorporate an air pump mechanism to inflate and release the trapped air in a rhythmic pattern to imitate breathing.

For me, this work represents our relationship with the planet, the environment and the ocean. It's pollution is caused from the discarded remnants of our consumer society. Once I throw something away, discarded into the trash, it becomes invisible to me. I sometimes seem to be living as if unaware, separate and above other life forms, unthinking of the impact my privileged life is having upon my surroundings and the wildlife that shares this planet with me. Working title: the breath of the moon. The title comes from thinking about the interconnected nature of earth and the moon. How it is the gravitational pull of the moon that creates the motion in the sea, like a breath, the sea is the lungs of the earth and we are clogging it with plastic.