michael e. smith at what pipeline
“Michael E. Smith’s sculptures strip everyday objects down to their most minimal state. In his constructions, Smith employs materials both natural and manmade, highlighting a tension between a culture of abundance and the rapid loss of reserves. Organizing the installation of his sculptures and videos around existing architectural features, Smith builds an emotional tenor throughout the spaces of his exhibitions. Tied to their sources, the works reveal the social and economic factors involved in their making. Originating from the discarded elements of our society, they bear with them the accumulated traces of human experience, evoking simultaneously their future and their loss.” —Andrew Kreps Gallery New York, NY
Smith arrives on site armed with a variety of materials but no fixed idea on their arrangement. He takes several days developing conversations between elements lending unconventional context to common objects which have been previously employed in their intended utility then capriciously discarded. By redacting presumed components, such as overhead lighting, associative feedback is focused on what remains.
Definitive intervals in chairs and floor lamps draw from musically metered cadence. The deep maroon demonstrates the potency of color both in its impact on this installation as well as referencing its use in some religions to indicate prominence.
Rolls of tape, both actually used and manipulated to appear used, are stacked and illuminated providing the sole source of light creating a sensation of murky, cool softness. It is recommended visiting this exhibition after dark—which can be accomplished via appointment—where the effect of spare luminosity emphasizes its significance to the narrative. From outside the building a security beam blazes through the back window as if planned, projecting a gleaming rectangle remarkably at perfect height in relationship to the rear chair.
The autobiographical basketball represents a head which, for this show, was granted disproportionate metal arms and legs posed in weary prostration. The ‘head’ is covered in layers of black tape displaying evidence of abuse and exhaustion, illustrating a condition artists preparing for an exhibition often experience prior to opening.
In this economical post minimalistic presentation, everyday items’ meanings are redirected in simple, discernible sequencing and grids. With so much current artwork bludgeoning viewers with intense colorations and fierce messaging, this subtle, meditative environment is its Zen reprieve.
On view through June 15th at What Pipeline 3525 W. Vernor Detroit
I’m glad you’re here and thank you for reading! If you are able, please consider upgrading to a paid subscription which gains you access to every audio and video interview posted since inception. Thank you!
SHOWS OPEN THIS WEEKEND
Really love these