Worldly Evocations

Currently debuting her solo exhibition, Stirrings of a Polymorphous Bloom, at the Gagosian Gallery in Hong Kong, Asia, Alexandria Smith shares profound reflections on the emotive power of her art with social and political issues through surrealism and spirituality. 

hube: Your work often explores themes of identity and the human experience. Could you share the sources of inspiration that drive these explorations in your art?

Alexandria Smith: My work is influenced by every passing day, my surreal interpretations of my own experiences, and society in general. Many of the figures in my paintings are stand-ins or avatars for emotions and the environments they inhabit are the interpretations of what our world does and could look like. The paintings aren’t an escape, they are ways to contend with our lives.

h: Your use of vibrant colours and bold imagery is striking. How does your choice of visual language contribute to the narratives you aim to convey in your artwork?

AS: My visual language stems from my deep love for colour and its emotive and narrative power. I use colours and language as both a lure and a place of comfort. Therefore, the language I choose is intended to deeply engage with and immerse the viewer in the world and feelings of my paintings.

h: Are there particular artists or movements that have inspired or influenced your artistic practice?

AS: The Surrealism and Baroque periods have influenced my career since the beginning. I am deeply inspired by such artists as Faith Ringgold, Wangechi Mutu, Jack Whitten, Belkis Ayon, Philip Guston, Bernini, Caravaggio, Chris Ofili, and Remedios Varo. There are more, but these particularly come to my mind. 

h: Could you provide insights into the connection between art and activism, and discuss how your artwork addresses social and political issues?

AS: Artists have historically been a galvanizing force when it comes to activism. They have been on the front lines when it came to utilising their work to unveil the ills and joys of the world. Although my work may sometimes be viewed as fun and lighthearted, I often do work that addresses the current state of the world. Sometimes, I am depicting the emotional impact of silencing and erasure while also portraying resilience and joy. A painting that I exhibited with Gagosian at Art Basel Miami entitled Mumbo Jumbo is my protest painting. It’s multifaceted in its depiction of war and a world on fire in the background, while in the foreground we see the battle and tension amongst the figures. Mouths are screaming for freedom alongside the nonsensical “political” mumbo jumbo that seeps out of the mouths of politicians and news media. It is our current state and in making this painting I am grappling with that.

h: Your inaugural solo exhibition in Asia, Stirrings of a Polymorphous Bloom at Gagosian Gallery, is currently in progress. The showcased pieces centre around symbols of genesis, light, and growth, drawing inspiration from your fascination with autobiography, fiction, and collective memory. Could you delve deeper into the specific stories that served as inspiration for this project?

AS: I am someone who deeply believes in love and hope. The aggressive level of leaning into these beliefs has helped me to cope with some very seismic personal shifts in my life. To be honest, I was making this work for myself; being vulnerable and putting all into it in a way that was different from what I’d experienced in the studio in the past. It became my therapy alongside some very deep internal work that I have been and continue to do around self-compassion and rage. It is my best body of work so far and I hope it is the catalyst for me to continue growing and evolving as an artist and human.

h: For centuries, text has served as a crucial mode of communication. In contemporary times, however, it appears to be undergoing transformation. What are your reflections on this shift?

AS: I don’t think the significance of text has changed, I actually think that the power of text has accelerated, especially now when we are seeing people losing their lives and livelihoods for using their voice to speak up against injustices and violence.

h: In the context of evolving digital landscapes, how do you balance traditional artistic mediums with emerging technologies in your creative process?

AS: I want to work smarter and so I have begun using various emerging technologies in my practice to experiment, have fun, and speed up some aspects of my practice, specifically when it comes to preparing my surfaces for painting. I’m excited about how much more I can push these experiments moving forward.

h: Given the emergence of virtual and augmented reality, do you see the potential for innovative immersive art experiences, and have you integrated or explored these possibilities in your artistic endeavours?

AS: I am very curious about this but I have not explored it in my practice. I think there is a lot of potential but I focus on making art more accessible, physically and economically, to larger groups of people at the moment.

h: To artists, the term “Future” frequently holds more significance than “Present.” How do you navigate the balance between these two in your artistic practice?
AS: I once heard a quote (I have no idea where) that said, “If you’ve got one foot in the past and one foot in the future, you’re pissing on your present” and it stuck. As artists who are a part of a capitalist society, we are always encouraged to keep going. Folks always say, “Congratulations, so what’s next?” I try to remind myself and my students to make the time to be present in the moment and reflect on where we are. We cannot sustain this level of innovation, empathy, and vulnerability in our work if we don’t take care of ourselves and rest. I have a very rigorous workout routine and am developing a consistent meditation practice. This, coupled with my upbringing as an athlete, has helped me to stay in my body which keeps me grounded. I also incorporate long periods of rest, especially after birthing a major body of work, which is still a work in progress, to be honest. I recently read a post by Cole Arthur Riley that essentially stated that community and collective care is key to our survival and is a necessary risk. I couldn’t agree more fervently.