is presenting a solo exhibition by New York based artist Emily Mae Smith. This is her first exhibition in Japan.
Emily Mae Smith doesnt mind pointing out that while shes been painting for some twenty years, her art really began to come into focus around 2013. That tells you a lotabout why her work can have the freshness, energy, and go-for-broke ingenuity of an emerging artist relishing her process of self-discovery, while still also showing the impeccable technical fluency and conceptual sophistication that usually only develop with considerable experience. And Smith has evidently been looking as long as shes been painting: her references encompass a big chunk of the history of Western painting, including often-overlooked episodes like nineteenth-century Symbolism, as well as a vast swath of the popular or commercial arts, from Art Nouveau graphics through Disney animation to the psychedelic posters of the Summer of Love.
Not surprisingly, Smith has observed that almost all this art was made by men for the delectation of other men. Her determination, in accordance with the times, was to put her own perceptions and experience as a woman into the pictureand to have fun doing it. But as a representationalist, shes indirect: Perhaps surprisingly, the body hardly appears in her paintingsunless you count the occasional mouth. Or not even a mouth, often just a homeless tongue or a set of teeth as identical and linearly aligned as the ice cubes in your freezer tray. Instead, her figural stand-in of choice is the humble (and distinctly unvoluptuous) besom broom. It represents domestic labor of the kind to which women have been consigned for millennia, but in the sequence of the Disney classic Fantasia (1940) based on the story of the sorcerers apprentice, set to the famous score by Paul Dukas, the broom becomes the implement that rebels against its would-be master. Its this very lowly thing that became very powerful when someone tried to control it, as Smith says. And of course in this, the broom also resembles its smaller cousin, the paintbrush.
These days, art making seems to have bifurcated: On the one hand, there is work whose form is fundamentally driven by its subject matter, often rooted in whats sometimes called identity politics: queer issues, racial issues, decolonial issues, and, of course, feminist issues among them. On the other hand, there is work thatthough it may be worlds apart from anything youd classify as modernist in stylecontinues to pursue the modernist intuition that art is before anything else an investigation of what art itself is or can be. Understanding how deeply gender and sexuality are woven into the very fabric of art as its come down to us, Smith is that rare practitioner whose works political and formal substance are so perfectly fused as to be indistinguishable. Butin contrast to the sorcerers apprentice her mastery of her tools is complete; she doesnt even have to set them to work. She puts them into play.
With a nod to distinct painting movements in the history of art, such as Symbolism, Surrealism, and Pop art, Emily Mae Smith creates lively compositions that offer sly social and political commentary. Her lexicon of signs and symbols begins with her avatar, derived from the broomstick figure from Disneys Fantasia (1940).
Simultaneously referring to a painters brush, a domestic tool associated with womens work, and the phallus, the figure continually transforms across Smiths body of work. By adopting a variety of guises, the broom and other symbols speak to contemporary subjects, including gender, sexuality, capitalism, and violence. (Patricia Hickson, Emily Hall Tremaine Curator of Contemporary Art, Wadsworth Atheneum Museum of Art)
Emily Mae Smith has been the subject of solo exhibitions at the Consortium Museum, Dijon, France and the Wadsworth Atheneum Museum of Art, Hartford, CT. Smiths work is included in the collection of the Whitney Museum of American Art.