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Published in Artforum, May 2015
A vacant auditorium is rendered in four cyanotype prints, Blueprint for a Sea, 2015, that utilize light to mimic outlines of waves. At first, the four appear identical; then, a very slight shift in perspective is noticeable. The series thus seems to rise and fall in a rhythm of its own. Five opaline globe lights hang as celestial objects, so that the narrative of the interior washes up against the vastness of outer space. Places become psychological: in this situationist’s dystopia, architecture rid of function is of infinite discontent and infinite desire.
Published in Art Monthly , April 2010
Published in Eyecontact, December 2008
“Killing Time” is an extraordinary portrait of an un-named possum trapper who lives in the Ureweras, working in remote areas of mountainous bush, British artist Bridget Smith films him in his house in Tokomaru Bay as he talks about his lifestyle and certain personal events.
Published in Time Out, August 2007
‘Smith’s use of slow exposure, combined with the available lighting – which could be spotlights, fluorescent strips or chandeliers – brings a richness of colour to her images. Whether she’s highlighting the oak-panelled opulence of the Vintners’ Hall in Blackfriars or the Southall Working Men’s Club with its scuffed, checkerboard linoleum and cork-effect ceiling tiles, there’s a similar feeling of warmth: ‘That’s important because it shows both the vibrancy and inclusive nature of these clubs. In some ways they’re exclusive because you have to be a member, but that’s also what’s connecting people.’
Published in Art Monthly, December 2005 - January 2006
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