Lydia Smith
Words by Allegra Handelsman
Photography by Phoebe Wingrove
If you know us you know we love Art!
Blowout writer Allegra Handelsman sits down with much talked about sculpture artist Lydia Smith to find out more about her fascinating, innovative way of working.
Let's start off with a question I'm sure you've heard many times before, when did your love of sculpture start?
I have always been fascinated by sculpture taking up space. It moves the air around and creates a tangible object. To me it creates a present moment and teleports you out of current reality into a Flow state.
When did you realise that you wanted to pursue this as a career.
I felt purpose-driven to create work allowing the audience to question their views on human connectivity. I have always been striving toward this alongside my other creative projects.
You started your career working as modeller and carver in the film industry, what made you take the leap to creating your own work?
I've always done my Art work on the side; when working in the Film industry; however, I couldn't conceptually think whilst having a full-time job. The pandemic made me realise that I had to make a choice, I really enjoyed my job, but I couldn't unlock my potential to bring deep concepts to my Artwork. So when the lockdown ended, I packed up my work and personal belongings in my Fiat 500, Driving around Europe to different art studios to experiment and play.
'Breeze in Space'
Are there any differences between working for yourself rather than for large scale productions?
Yes, massive. Sometimes you get little creative authenticity when you're working on large-scale productions, but most of the time, you are given a drawing with the measurements mapped out from the art department, and you make it to the specifications. It is a dream working with a team of people, you're creating something from scratch, and it is a giant jigsaw puzzle. However being able to do my Artwork with complete creative control and having the time and energy to think about the deep, meaningful things that are important to me is more emotional, human, and spiritually fulfilling.
You use a digital processing method in the creation of your sculptures, what first inspired you to embrace technology in your art?
I had trained extensively in figurative sculpting, and I was obsessed with being a perfectionist, wanting to capture the human form with accuracy. I then wondered, why I was doing this? To prove my worth so that people will recognise I have a skillset? Was I hiding behind this skill set - to gain a sense of validation? I never used to think like that. So I went back to how I felt at school, which was more experimental. My friend James Rogers who uses technology manipulation within his practice, and he inspired me to experiment with it myself. I relinquished control and created a gap between myself and the outcome; that's where technology came in. I take what is generated and then use my artistic interpretation, putting the power back into my hands as an artist to create new work.
'Foreign Body'
How much do you consider the negative space when creating your work?
The negative space is so beneficial, especially when sculpting in the physical world with clay. I look for the gaps and the angles, not only looking at the mass I'm creating. I also look at negative space, and then I see the organic shape it's forming in both, creating harmony.
You have said that your sculptures embrace not only the physical side of the human form but also the spiritual, how do you capture this?
Spirituality and self-awareness are two topics of conversation within the concepts of my work, I want the viewer to look at my sculptures, to stop and pause. I imagine my sculpture in the park; the viewer takes a moment to have that break from their anxiety or stress, fueling them throughout their day, and hopefully reset before they continue on. I hope to achieve a present moment.
Left 'Leftovers Always Taste Better The Next Day' , Right ' Be More Like A Horse'
You recently had a solo show titled, Sculpture & Design Intersects the Digital World, a collaboration with E P O K woman & WAAW London, tell us about it?
My Exhibition, 'Sculpture & Design Intersects the Digital World', showcases my most recent sculpture, 'Foreign Body', which reflects how technology can warp women's engagement with themselves. I am also collaborating directly with Prudence the Creative Director of E P O K as part of the ongoing feminine and Form exhibition in Mayfair. We wanted to create an artwork born between the physical and digital worlds . Taking References from Antiquity I captured E P O K' s Signature Dress on a life model with my unique scanning method, then proceeded to digitally sculpt the forms creating pixilated stone. The title of this work is 'Future Antiquity'; it's a conversation about the power of the female body and how the female body has been manipulated and observed throughout history, how perceptions of the female body are performance-like - based on the male gaze and society's viewpoint.
Do you believe that the art of sculpture, a male dominated medium, has contributed to the fetishisation of the female form?
I do. I also believe that throughout history, it has been about the beauty of the female form. I understand that maybe it's not done with malicious intent, but it's less about a woman's brain and more about their body, their naked anatomical suit. Even working in the Film Industry, in construction which is primarily male, I felt like a victim to the male gaze and had to adapt my behaviour to endure certain situations.
There is a great book published by the Hayward Gallery titled 'Breaking the Mould Sculpture by Woman since 1945'. It's filled with many facts and quotes that will astonish the reader and highlight the prejudices towards women in sculpture. A particular favourite of mine is written by a journalist in 2019, commenting on the work by Holly Hendry.
'All this from a mild-mannered artist who doesn't look capable of peeling the skin off a rice pudding.'
This is within the same region of commentary made against Barbara Hepworth in 1966. 'How could this diminutive woman, 62 years old, with skin and flesh laid over bones as delicate as a seagull's, have modelled and carved a body of work five times the size of Michelangelo's in equally resistant materials and on as big a scale?' Fifty-two years between these quotes, yet they are the same in context. I find this horrendous.
'Be More Like A Horse'
Do you believe that the female gaze exists? If so, what does it look like to you?
Instinctually thinking about it, I don't think the female gaze can exist, because the male gaze is created from a power dynamic. Since the men are on top of the higher arche, I don't know what the female gaze would be. Although we are making progress, I think that stereotypical heterosexual males are still very uncomfortable with connecting to their feminine energy. I believe within each human being, no matter their gender, you have male and female energies, which you bring out in different scenarios. If men and women can both recognise these within themselves and try and act in a way which is balanced, I think we would all be better off. I guess if it did exist, the female gaze to me would be equality.
Why do you think that showcasing female artists is so integral to the creative industries?
It's so unbelievably important, but I'm also aware that we don't want to be tokenised. There is a wave/hype of female empowerment; it's a hot topic now, but when it all dies down, what's going to happen to those female artists? We also must ride the wave because it opens opportunities that have otherwise been closed. We need to have the exact same representation as men. I want to be taken on my merit as an artist. For example, I don't particularly appreciate being called a 'sculptress'; to me, that title doesn't exist; I am firstly an Artist, which by the title has no gender. Secondly, I am a Sculptor, categorised as a male profession if we look at history. I also believe if more Female identifying artists were at the forefront of the Market, it would open up educational conversations around the life of the everyday female, creating more compassion and understanding. We need more exposure to female artists everywhere, which is why I am so strongly connected and believe in WAAW London.
What do you believe the art world would like if female work was more equally celebrated?
I believe that if Women identifying artists are more recognised, the public would learn more about the female experience. In addition, it could create more empathy in a patriarchal world, where many people are perhaps oblivious to what women go through, especially on a monthly basis.
Do you have any plans for any upcoming exhibitions?
I currently have several projects in the works, including collaborations with other organisations. I am showing a piece in October, although I can't say what it's for at this time. I spend most of my time in my studio creating new work, and we'll see what happens next.
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Writer: Allegra Handelsman
Photographer: Phoebe Wingrove
Lydia Smith Artist WEBSITE: https://www.lydiasmith.gallery/
