Clay Smith
STATEMENT
I'd start making a piece, applying onto a material that already has some marks on it, this helps I think. I'd add to it until I am happy enough to walk away, when I'm satisfied with what I've done. I would return later, and almost always change what I have done, as I no longer like it. The work changes, my observations change, so I would take away or replace completely what I have previously done. Out of desparation I blindly go in, not knowing any outcome, using materials not usually associated with the art world, my work would take on a new direction. The process consists of making mistakes, not knowing how or what will happen. It seems the process of making art is like raising a child, one make mistakes, traumas occur through mismanagement, mishaps are a constant reminder that I've a long way to go.
When the piece is finally declared 'finished', it goes into a kind of death like phase. It's gone through all the teething, the learning, the mistakes, and ended up 'finished', old, wiser and complete.
the ARTISTS PRACTICE
The Unexplored Wilderness
My current (and ongoing) project 'The Unexplored Wilderness' explores the vast and complex nature of self. Through this unique approach of making, I create a world that journeys my hidden and undiscovered self. My work is a testament to an unconventional artistic expressions and my ability to push the boundaries of what is possible in art, and how one understands it.
Having always considered my past, my experiences and childhood through an artistic expression, I have since abandoned this way of creating. We all have an Unexplored Wilderness inside of us, this could be love, hatred or whatever. I have (with this in mind) opened up a whole new way of seeing, and of making sense of what it is to be an artist. The only link to my childhood/history is with the collection of objects that I sometimes use in my art. To explore, and discover the self, opens up a whole Universe in which to take creative innovation from.
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JORDAN RESIDENCY
2020.
I travelled to Jordan to spend 11 days on a research and studio practice. This trip was originally planned as a one way visit, with the hope of setting up my own studio and gallery practice, with the help from the British Embassy in Jordan. After numerous emails with the Embassy, my plans to stay didn't happen due to Embassy policy and how it actively works with creatives.
Working in Jordan allowed me to create in isolation, with no influences from the world I was accustomed to. My first port of call was Amman, here I was able to gather materials from the Souks, like canvas, spices, fabric dye. I had already semi prepared other canvasses in the UK that I brought to Jordan in order to make final pieces of work. I spent the time in Amman documenting marks with a camera, soaking up as much as I could. It was here I also took up cooking classes in the local cuisine, making mansaf and baba ghanoush etc. After Amman I travelled to Madaba, it was here I started to make work, and collected more materials. Whilst in Madaba I visited sites like the Baptist Site of Christ, where I collected water from the River Jordan, this I used to prepare the canvas prior to the use of fabric dye and Dead Sea Mud.
My visit to Jordan had the effect on me I was hoping for. To alter and change my direction as an artist, this visit I found both inspiring and motivational. Jordan had a huge effect on me, on my creativity and ways of making, and changed the way I feel about the work I now make.
The below video shows me making the work in the photographs, in Madaba. Using Dead Sea Mud, water from the Baptist Site and fabric dye, all acquired from Jordan.
THE DEAD SEA
Working in Jordan allowed me to start my canvasses as I need to. I feel it's better for me to begin making marks in as haphazard a way as possible, almost blindfolded. I travelled to Jordan to do just this. I needed to be in an environment that is new to me, not to be influenced by familiarity or comfort. Although I have some control, I want things to just happen, in the video my driver(Mohammed the Bedouin taxi driver), helped himself to the process of making art...and I loved it!
PAST PHOTOMONTAGE WORK
MEDITERRANEAN ALTARPIECE
In his past exhibition 'FYI: I'M ABOUT TO LOVE YOU', Clay Smith explores the complexities of human emotion and connection. Through his use of vibrant colours and bold shapes, he creates a visual representation of the intangible aspects of love and relationships. Clay Smith's ability to capture the essence of human experience through his art is what makes him a truly exceptional artist.
Found slide film, blood and insects. Diptych.
Found slide film, blood and insects. Triptych.
Found slide film, blood and insects. Diptych.
BEAUTIFUL IF RICH - Athens
These two photomontage pieces are a response to a conversation I had with the taxi driver whilst travelling to the Enia Gallery in ATHENS where I was part of a group show. The driver mentioned how beautiful Athens is, if only you were rich. I sensed that most people here are struggling, hard working. The driver wasn't that happy with his situation or the situation with Greece as a whole. These images are a response to this.
STENOGRAPHIC CHILDREN
Stenographic Children are visual responses to the ever increasing distances between what is real and what isn't. Our attachments to what is unreachable, yet hailed as triumphant in our culture, met with the visceral reality of our future, creates works that both captivates and repulses.
