The article "Giving Castoffs a Second Life" was published on the website nytimes.com on March 7, 2013.
The article carries a lot of comment on the various works on display in Shinique Smith's current solo exhibition at the James Cohan Gallery in Chelsea.
Giving appraisal of the situation it's necessary to point out that items might get swept up into multipatterned sculptures of castoff clothing bound with rope in monumental bales or cloudlike bundles dangling from the ceiling, or else collaged into exuberant paintings with calligraphic graffiti and colorful fields of pigment and fabric.
In addition the author of the article mentions that “It’s a constant dance between chaos and order,” Shinique Smith said of the tension within each cacophonous piece, the relationship between paintings and hanging sculptures in the first two rooms of the gallery shifts visual between a harmonic balance and a more dissonant struggle, escalating in the third room to a constellation of buoyant sculptures suspended in midair.
Analyzing the situation it's necessary to emphasize that Ms. Smith, 42, draws bountifully on her formative experiences with dance, graffiti, Tibetan culture and fashion, synthesized with influences that range from Jean-Michel Basquiat to Japanese calligraphy,while her work shares certain attributes with Abstract Expressionism, she says she’s coming from a very different place.
In this connection it’s worthwhile mentioning that Since gaining notice in “Frequency,” a survey of emerging African-American artists at the Studio Museum in Harlem in 2005 Ms. Smith has made installations around the country incorporating materials collected from communities and thrifts shops: clothes, toys and other ephemera.
Speaking of this situation it is also interesting to note that Shinique Smith said that she liked that the garments were subsumed in a composition of color, shape and form while still retaining their associations. “I think the consumerism, the clothing, the trappings, the shedding skins, the little bits make us who we are,” she added. “I try to string it all together.”
In conclusion the author of the article expresses the view that Shinique so often takes bits and pieces from things that might be discarded and creates something very beautiful, which is exactly what Mother Clara Hale did with children whose lives were broken. When we took it to the community, they really knew this was a gift for them.
As for me I think that it is no matter how you produce your art , it is important to put your heart (and soul) into your work. Shinique Smith is a great example of such strange but beautiful art and I really like it.
The article carries a lot of comment on the various works on display in Shinique Smith's current solo exhibition at the James Cohan Gallery in Chelsea.
Giving appraisal of the situation it's necessary to point out that items might get swept up into multipatterned sculptures of castoff clothing bound with rope in monumental bales or cloudlike bundles dangling from the ceiling, or else collaged into exuberant paintings with calligraphic graffiti and colorful fields of pigment and fabric.
In addition the author of the article mentions that “It’s a constant dance between chaos and order,” Shinique Smith said of the tension within each cacophonous piece, the relationship between paintings and hanging sculptures in the first two rooms of the gallery shifts visual between a harmonic balance and a more dissonant struggle, escalating in the third room to a constellation of buoyant sculptures suspended in midair.
Analyzing the situation it's necessary to emphasize that Ms. Smith, 42, draws bountifully on her formative experiences with dance, graffiti, Tibetan culture and fashion, synthesized with influences that range from Jean-Michel Basquiat to Japanese calligraphy,while her work shares certain attributes with Abstract Expressionism, she says she’s coming from a very different place.
In this connection it’s worthwhile mentioning that Since gaining notice in “Frequency,” a survey of emerging African-American artists at the Studio Museum in Harlem in 2005 Ms. Smith has made installations around the country incorporating materials collected from communities and thrifts shops: clothes, toys and other ephemera.
Speaking of this situation it is also interesting to note that Shinique Smith said that she liked that the garments were subsumed in a composition of color, shape and form while still retaining their associations. “I think the consumerism, the clothing, the trappings, the shedding skins, the little bits make us who we are,” she added. “I try to string it all together.”
In conclusion the author of the article expresses the view that Shinique so often takes bits and pieces from things that might be discarded and creates something very beautiful, which is exactly what Mother Clara Hale did with children whose lives were broken. When we took it to the community, they really knew this was a gift for them.
As for me I think that it is no matter how you produce your art , it is important to put your heart (and soul) into your work. Shinique Smith is a great example of such strange but beautiful art and I really like it.
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