INTERVIEWS / REVIEWS
The stitching is calligraphically revealing of its process, and the work becomes a repository for things like; handedness, hand pressure, play, speed, tiredness, mistakes even boredom. And it is the mistakes particularly, that make the scrolls beautiful also the unfinished parts and gorgeous red, side-fringe of loose ends, which lends the gravitas of ancient manuscripts.
Clare Smith’s piece, ‘Temporary Sculpture’ is sculpture in a similar fashion to which Magritte’s painting is ‘…not a Pipe’. It is a video presentation of a three dimensional work collapsing. As we watch its delicate structure gently ‘tingueling’ before us we lose sight of the video and assume a commonsense connection with what we see happened to the paper structure during the video recording. We are the twitching, vulnerable structure. What happens before our eyes then happens again. And again. And again; the video’s hardware, the imagery before us as light, asserts itself, becomes sculpture of a different kind
2013-2014: Q&A for Wobudong exhibition: non-writing, emptiness
2012: David Minton wrote a review of “Meeting Room” on a-n artist’s newsletter’s Interface.
“Clare Smith’s piece, ‘Moments ’11’, smaller, on Chinese character practice paper, performs a repetition, or is it an evolution, of black marks in the red squared practice grid. We too are marks. None repeated and all similar. Like examining a photograph of a crowd, characters emerge anonymous and singular we ask, “Which one am I, where are you?”
Read the whole review here