ARTISTS
Seton Smith
18 Mar, 2011 - 30 Apr, 2011
Winston W盲chter Fine Art is pleased pleased to announce an exhibition of new photographs by Seton Smith, on view from March 18 鈥� April 30, 2011. Featuring pieces from several different bodies of work, the exhibition will be accompanied by a book featuring essays by John C. Welchman, Patrick McGrath, Penelope Rowlands and Claudia Steinberg.
鈥淭here鈥檚 a house at the heart of Seton Smith鈥檚 life and work. And also a time. The house was a shingle-style, late nineteenth century structure was, in her words, [TK]. The time was childhood, the moment when she first apprehended the space around her 鈥� her family鈥檚 residence and, beyond it, the world.
Her childhood home was tangible, of course. But the mind that grew among and into its spaces and contours was not. It was fluid and evershifting and because it was, and is, an artist鈥檚 mind it was acutely self aware. Others may move through life, unseeing; but the artist, and especially this one, watches, examines, ponders instead.
Seton Smith鈥檚 work is about spaces. They鈥檝e come in many forms over the several decades and two continents within and upon which she has made her career. They tend to be blurred, off kilter, surprisingly cropped. They don鈥檛 aim for verisimilitude, or rather not the kind we鈥檝e been led to expect. This isn鈥檛 the world as seen by a news camera; it鈥檚 not 鈥渁ccurate鈥� in that sense. Yet it鈥檚 somehow more precise. For the blur, the fuzz, the unexpected angle are the stuff of consciousness. They represent the mind. They鈥檙e insistent reminders that what we see is, inextricably and always, our own point of view. That in seeing, we create the world.鈥� -Penelope Rowland鈥檚 most recently book, 鈥淧aris Was Ours: 32 Writers Reflect on the City of Light鈥�, has just been published by Algonquin Books of Chapel Hill.
鈥淭here鈥檚 a house at the heart of Seton Smith鈥檚 life and work. And also a time. The house was a shingle-style, late nineteenth century structure was, in her words, [TK]. The time was childhood, the moment when she first apprehended the space around her 鈥� her family鈥檚 residence and, beyond it, the world.
Her childhood home was tangible, of course. But the mind that grew among and into its spaces and contours was not. It was fluid and evershifting and because it was, and is, an artist鈥檚 mind it was acutely self aware. Others may move through life, unseeing; but the artist, and especially this one, watches, examines, ponders instead.
Seton Smith鈥檚 work is about spaces. They鈥檝e come in many forms over the several decades and two continents within and upon which she has made her career. They tend to be blurred, off kilter, surprisingly cropped. They don鈥檛 aim for verisimilitude, or rather not the kind we鈥檝e been led to expect. This isn鈥檛 the world as seen by a news camera; it鈥檚 not 鈥渁ccurate鈥� in that sense. Yet it鈥檚 somehow more precise. For the blur, the fuzz, the unexpected angle are the stuff of consciousness. They represent the mind. They鈥檙e insistent reminders that what we see is, inextricably and always, our own point of view. That in seeing, we create the world.鈥� -Penelope Rowland鈥檚 most recently book, 鈥淧aris Was Ours: 32 Writers Reflect on the City of Light鈥�, has just been published by Algonquin Books of Chapel Hill.
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Winston W盲chter Fine Art is pleased pleased to announce an exhibition of new photographs by Seton Smith, on view from March 18 鈥� April 30, 2011. Featuring pieces from several different bodies of work, the exhibition will be accompanied by a book featuring essays by John C. Welchman, Patrick McGrath, Penelope Rowlands and Claudia Steinberg.
鈥淭here鈥檚 a house at the heart of Seton Smith鈥檚 life and work. And also a time. The house was a shingle-style, late nineteenth century structure was, in her words, [TK]. The time was childhood, the moment when she first apprehended the space around her 鈥� her family鈥檚 residence and, beyond it, the world.
Her childhood home was tangible, of course. But the mind that grew among and into its spaces and contours was not. It was fluid and evershifting and because it was, and is, an artist鈥檚 mind it was acutely self aware. Others may move through life, unseeing; but the artist, and especially this one, watches, examines, ponders instead.
Seton Smith鈥檚 work is about spaces. They鈥檝e come in many forms over the several decades and two continents within and upon which she has made her career. They tend to be blurred, off kilter, surprisingly cropped. They don鈥檛 aim for verisimilitude, or rather not the kind we鈥檝e been led to expect. This isn鈥檛 the world as seen by a news camera; it鈥檚 not 鈥渁ccurate鈥� in that sense. Yet it鈥檚 somehow more precise. For the blur, the fuzz, the unexpected angle are the stuff of consciousness. They represent the mind. They鈥檙e insistent reminders that what we see is, inextricably and always, our own point of view. That in seeing, we create the world.鈥� -Penelope Rowland鈥檚 most recently book, 鈥淧aris Was Ours: 32 Writers Reflect on the City of Light鈥�, has just been published by Algonquin Books of Chapel Hill.
鈥淭here鈥檚 a house at the heart of Seton Smith鈥檚 life and work. And also a time. The house was a shingle-style, late nineteenth century structure was, in her words, [TK]. The time was childhood, the moment when she first apprehended the space around her 鈥� her family鈥檚 residence and, beyond it, the world.
Her childhood home was tangible, of course. But the mind that grew among and into its spaces and contours was not. It was fluid and evershifting and because it was, and is, an artist鈥檚 mind it was acutely self aware. Others may move through life, unseeing; but the artist, and especially this one, watches, examines, ponders instead.
Seton Smith鈥檚 work is about spaces. They鈥檝e come in many forms over the several decades and two continents within and upon which she has made her career. They tend to be blurred, off kilter, surprisingly cropped. They don鈥檛 aim for verisimilitude, or rather not the kind we鈥檝e been led to expect. This isn鈥檛 the world as seen by a news camera; it鈥檚 not 鈥渁ccurate鈥� in that sense. Yet it鈥檚 somehow more precise. For the blur, the fuzz, the unexpected angle are the stuff of consciousness. They represent the mind. They鈥檙e insistent reminders that what we see is, inextricably and always, our own point of view. That in seeing, we create the world.鈥� -Penelope Rowland鈥檚 most recently book, 鈥淧aris Was Ours: 32 Writers Reflect on the City of Light鈥�, has just been published by Algonquin Books of Chapel Hill.
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