Channeling the Divine through Visual Expression: An Interview with Philip Smith

Mysticism and Mark-Making: Artist Philip Smith On Channeling the Sacred in the Static

Philip Smith’s sweeping career survey at MOCA North Miami reveals the spiritual logic behind the Pictures Generation artist’s work.

A Life of Artistic Exploration

In 1977, artist Philip Smith was part of Douglas Crimp‘s original ‘Pictures’ exhibition at Artists Space alongside Troy Brauntuch, Jack Goldstein, Sherrie Levine, and Robert Longo—the show that was the seedbed of what became known as the Pictures Generation. However, when the Met canonized the movement with Douglas Eklund’s** 2009 show of the same name, Smith’s work was conspicuously absent. A lot of critics and art insider types had something to say about Eklund’s oversight.

Smith himself sent a letter to Art in America expressing a degree of confoundment… but then he got back to work. While other Pictures Generation artists became associated with conceptual cool, Smith took another path—more metaphysical, less postmodern and thrumming with a dynamic spiritual current. But if you know Smith, you know he was always going to do his own thing.

Well before ‘Pictures,’ he was part of New York City’s avant-art constellation, rubbing shoulders with the likes of Basquiat and Rauschenberg, filing dispatches for Andy Warhol‘s Interview (which led to a stint as GQ’s managing editor) and taking his art in directions that diverged from that of his contemporaries. While others were deconstructing the image, Smith was looking for something sacred in the static.

The Evolution of Process

Originally, Smith’s work anticipated the flood of imagery that now surrounds us, transforming us from a literate to a visual culture. His process has evolved over the years, starting with large Pictures drawings, which he made using a mixture of cold wax, various aromatic oils and pigment. He used a screwdriver to give him a somewhat neutral line that was not filled with emotion or subtlety.

However, all things change, and in the last few years, Smith started working with sticks of compressed pigment mixed with wax. The imagery is consistent with his earlier work, but the use of pigment completely changes the radiation and sensation the work gives off.

Exploring Themes

Smith’s work has always been visually intense, but that hasn’t changed. He references ancient sacred spaces such as Indian or Egyptian temples, where one is overwhelmed by images that short circuit your neurons and move you into a different state of perception. His experience in these sacred sites inspired him to incorporate the hallucinogenic sensation of being overwhelmed by imagery.

The Role of Mysticism

Smith’s background includes interviewing artists such as Jasper Johns for Interview magazine under Warhol, as well as other magazines. He was interested in writing, which he enjoys. His work definitely influenced his writing, and readers feel they are watching a movie when they read his book.

The influence of his father, who taught him to understand and work with the invisible world, is also significant. Smith’s work incorporates alchemical symbols and handwritten texts, which reflect his interest in mysticism and dream logic.

Recontextualization

Given the renewed attention, Smith doesn’t see his work being recontextualized in a way that feels accurate to him. Instead, he believes the culture is finally catching up with the ideas in his work. As the culture shifts, people are more open to the ideas he is working with.

A Cohesive Narrative

For the first time, Smith’s full spectrum of work is on display at MOCA North Miami. The exhibition culminates in his newest series, ‘Energy Paintings,’ which synthesizes elements from earlier series with charged gestures and chromatic dynamism. These paintings are about changing one’s frequency in a very generous way.

Smith has consistently made work that has jostled with art-historical tradition. His latest works, however, offer a glimpse into the spiritual logic behind his artistic practice.