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Kiki Smith © Erik Madigan Heck

Press

The Art Newspaper Reviews "Kiki Smith: I am a Wanderer"

Reviewed by Anna Sansom

September 26, 2019

“I’m just wandering around and I follow where the road takes me,” says the US artist Kiki Smith about her approach to making art and the title of her new exhibition, I am a Wanderer, at Modern Art Oxford.

The last year has seen Smith’s multifarious work trailblazing—rather than wandering—through Europe, with a series of shows: a retrospective that travelled from Munich via Tampere to Vienna; an exhibition at the Deste Foundation Project Space in Hydra, Greece (until 30 September) and a forthcoming survey at the Monnaie de Paris (18 October-9 February 2020) as well as a gallery show at Galleria Continua in San Gimignano (28 September-6 January 2020).

I am a Wanderer, Smith’s first institutional exhibition in the UK in nearly 25 years, assembles large-scale tapestries (2012-16), small-scale sculptures (1985-2015), as well as photographs and prints made over the past three decades. In a nod to Lewis Carroll, who lived in Oxford and whose character Alice inspired some of Smith’s sculptures, the artist is including Pool of Tears II (2000), an etching based on Carroll’s manuscript drawings for Alice’s Adventures Under Ground.

The 12 richly coloured tapestries—a departure from Smith’s black-and-white drawings—reveal the artist’s love of animals and nature (she and her husband have around 60 beehives), fairy-tales and myths. “I wanted to make things that are a combination of 1920s Art Deco and Hollywood, mixed with the spectacle of nature in the Middle Ages, overt pageantry and hippie art,” she says about the tapestries. “But the deer kept crossing the road or the foxes were singing at night,” she says, explaining how ideas linked to her surroundings seeped in and the number of tapestries grew. “To me, nature is precious and wondrous; it’s our intervention that causes the mayhem.”

In the smaller galleries, “diminutive things” of hybrid animals, natural phenomena and female figurines will be displayed in curiosity cabinets alongside photographs of Smith’s installation works. “Taking photographs of my work felt like a more intimate perspective than the finished thing [because] being an artist is primarily about the process, the discovery, seeing what happens along the way and letting things reveal themselves,” Smith says.

A section in the exhibition on printmaking offers a counterpoint to this. “I’m 65 and I’ve just bought myself a press this year; I’m fixing up a building and waiting until I can use it – there’s really a lot to learn, it’s endless,” enthuses Smith, who has been involved in printmaking and etching for 30 years.

To read the full review, written by Anna Sansom, please visit The Art Newspaper.
Press — The Art Newspaper Reviews Kiki Smith, Sep 26, 2019