Sarah Smelser

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When asked about my work, I often say that it is about an abstract sensibility.  This is an honest answer, but not a complete one.  It is also about relationships, contrast, balance, and organizing space.  I casually or perhaps coincidentally make reference to cartography, the body, cycles in nature, and mundane objects.  I also allude to systems and structures that are both natural and man-made.  More deliberately, I consider and depict conversations I have had, songs I hear, private jokes, anecdotes, and poems. Although these references are present in the work, either on the surface or deep down below, they do not inspire or initiate it.  The work is generated by an urgent curiosity and is sustained by the excitement of discovery.

I am curious about how forms can speak to one another.  I often categorize forms by placing them into opposing camps: fast or slow, solid or particulate, square or curved, impulsive or meditative.  At times these forms of conflicting character simply exist together in a space and stand in contradiction to one another.  Perhaps they read as different places, genders, or moments in time.  Other times they relate, react, acknowledge one another, collide, veer apart, or perform an ambiguous task.  My imagery is evidence of an interior conversation. It is also an effort to tread a line between elegant and awkward, deliberate and intuitive, skilled and na├»ve.