10 Questions with Wendell Smith

Wendell Smith (b.1972) is a contemporary artist currently living and working in Atlanta, GA.  His work reflects the rich visual traditions of the Caribbean, incorporating Afro elements and folk culture. Educated both in the Caribbean and North America, he moderates conversations between the two regions, presenting a narrative of intercultural experiences. He has an undergraduate degree in Literature and Creative Arts from the University of the West Indies (First Class Honors) and is the recipient of the prestigious Fulbright scholarship award. He later pursued studies in studio arts at the Savannah College of Art and Design, graduating with an MFA in Painting. In addition, he earned a Doctorate in Education from Walden University. Smith's awards and fellowships include the Artist Fellowship Grant, the Puffin Foundation Emerging Artist Grant,  the Archie D. Bertha H. Walker Fellowship Award, and the Trinidad and Tobago Support Alliance Grant.  He has completed residency fellowships at Hambidge Center for the Creative Arts and Sciences, Vermont Studio Center, and Virginia Center for Creative Arts. His work has been exhibited most notably at the Museum of the Americas, Arlington, VA; King Tisdell Cottage Black History Museum, Savannah, GA; the University of Alabama, Huntsville, Al; Duke University, Durham, NC; Pinnacle Gallery SCAD, Savannah, GA; Jepson Center for the Arts, Savannah, GA, and the African American Cultural Center, Charlotte, NC, THINKARTWORK Studio, Trinidad and Tobago. Publications include: Caribbean Vistas WordPress, Journal of Africana Studies, Seadly New Art International, and Black Entrepreneur Magazine His scholarly activities focused on research into the design of curriculum for Caribbean higher education in the arts to meet the needs of the global art market. It has been published by the Caribbean Educational Research Journal. 

wendellsmith.art | @wendell.smith.351

ARTIST STATEMENT

Memory is a central factor in the work articulating the personal narratives of the artist's lived experiences. As part of the experience, cultural identity plays a prominent role where the journey motif is used to reflect the process of time. Visual images in the work shift between reality and the abstract. The work probes the questions of existence and the human relationship to both the interior (psychological) and exterior (physical) worlds that define contemporary reality. As an observer of the drama of human history, the artist explores the narratives that have constructed the present. Multi-layering is evident in the work, conveying depth and reflecting history. Intuitive marks construct the emergence of forms, adding  spontaneity, movement, and the "visual dance."  

INTERVIEW

Let's start from the basics. How has your Caribbean heritage influenced your artistic style and themes?

The Caribbean is a very complex and "storied region" that has weathered so many storms as a result of its history of colonialism, post-colonialism, the movement towards independence, and now its position in the contemporary global hemisphere. Growing up in the region, and in particular Trinidad and Tobago, the rich cultural mix of different peoples all having their own history and unique experiences offered the opportunity to peer into the universe of the "other." This was an enormous privilege, where there is a genuine attempt to understand the nuance of another's tradition and experience. Interestingly, I was confronted with the question of identity and my Afro-Caribbean roots and how it played against the larger cultural reality of diversity around me. This preoccupation of mine was reflected in the national festival called Carnival. It is a rich display of different cultural traditions coalescing into a statement of national unity. `This is where the influence on my artistic work is most pronounced. The themes in my work range from fragmentation as a result of the historical past (slave experience), human fragility,  and crisis of identity to the power of will, pride of place, social justice, and the quest for human dignity. These themes run throughout my work and speak to the larger meaning of the Caribbean and its people, all marching toward the future in this new global world. The style of my work no doubt borrows from different traditions such as Western artistic practices, traditional tribal aesthetics (African and pre-Columbian), folk elements rooted in Trinidad folk culture, and its "naive" style. 

How have your studies in literature, creative arts, and studio arts shaped your approach to painting?

When I began studying literature at the University of the West Indies, I was taught by some extraordinary scholars who were pioneers of West Indian literature. They shaped my critical approach to the subject, helping me appreciate the ways in which writers use their craft to develop innovative styles through the construction of literary elements to narrate their vision. Literary giants such as Derek Walcott used language to explore identity to reflect the hybrid Caribbean culture of T.S Elliot, with his lack of narrative structure and the odd juxtaposition of images that spoke to the experimental approaches to aesthetic expression. These influences resonate throughout my visual work, where images and symbolism translate into visual form. The interdisciplinary connections allow me to use the art of storytelling by utilizing visual representations of abstract concepts so that ideas are accessible and impactful to a wider audience. These ideas are developed within the studio and have had a tremendous influence on my work. As an undergraduate student at the UWI Creative Arts Center, the program was very studio focused so many of the practices I acquired there are part of my process. The studio helps to establish routines that can bring tremendous focus to the work. It is the place of exploration and experimentation where materials and techniques are manipulated to foster growth and bring new approaches to one's creative expression. Self-reflection, monitoring progress, and developing new ideas are key moments in the studio.

And how does your background in education and research influence your current artistic practice?

Education is, in essence, the desire to acquire knowledge to apply critical thought to issues within the environment whileresearch investigates phenomena, draws conclusions based on the evidence gathered, and perhaps suggests some recommendations, and these become expert opinions. There is an interesting parallel here to the creative endeavor where the artist, through exploration, seeks to understand the world around them and find the appropriate styles and techniques to communicate ideas so as to enlighten audiences and evoke dialogue.  I am using my work not necessarily to be didactic but to moderate conversations and provoke thought around the issues.  In this way, my background in education and research comes into play. Additionally, I am able to articulate visual ideas cognizant of the frameworks and contexts within artistic traditions while developing my own personal voice in the communication of my distinct narrative. 

Let's talk about your work. Could you elaborate on how your work moderates conversations between the Caribbean and North America, as you mention in your statement?

The Caribbean has a long history with North America in terms of historical, cultural, political, economic, and social dimensions. The economic influence is demonstrated through trade, tourism, and business investments. Additionally, the migration of Caribbean nationals to America has had an impact on its social life and culture. This is most evident in the influence of contemporary American musical styles. Then there is colonialism, as a result of the slave experience, which has shaped the diaspora and influenced the cultures and social structures in both regions. This inextricable link has created some important debates where America, holding the "economic power," has sought to define the region. Consequently, the Caribbean, through its determination, is compelled to control its own narrative and cement the essence and meaning of its own culture. My work is central to this debate, where the themes and stylistic forms are developed to counter stereotypes and narratives falsely propagated by dominant nations (North America and the rest of the Western world). In this quest for "truth" and to reclaim the narrative, the work illuminates audiences in the hope of understanding the nuance of the culture and, in effect, restoring its sense of dignity.   

What is your creative process like? How do you go from the first idea to the final outcome? 

The creative process for me is multifaceted, where "I live in my head," meaning that I am constantly thinking about my creative process and the most suitable ideas to explore. The work builds upon previous expressions in terms of both thematic issues and stylistic elements. I keenly observe the world with all its complexities and draw my inspiration from others, their emotional experiences, and nature. These become the catalyst for developing themes that are important to me and the community I am a part of. There are moments when I have to research information if I am interested in relating a specific topic to my work. I sometimes gather references and study techniques of other artists of similar interest.  I am able to synthesize the information for my own creative use and seldom begin with a definitive plan. The blank canvas is used as a symbolic statement to suggest the genesis of the idea. If I am working within the abstract realm, then the first marks are used to structure the composition. I then add additional shapes, overlapping each other to create a strong visual interest. The relationship between lines and shapes is most evident in the work as I attempt to create depth, show contrast, and investigate the most meaningful use of color. The objective is to achieve a narrative that I can articulate. These images may trigger specific memories or help me to draw references to a specific cultural idea. When this occurs, the imagination takes over, and I am able to apply a more definitive idea, such as an abstract shape becoming a realistic form, such as a head, hand, or flower.  In the end, the work is often reflective, and I constantly revisit it to modify techniques, redefine forms, and build on the initial visual structure of the composition. The work is complete when it communicates to me visually in a genuine way.   

Memory plays a central role in your art. How do you incorporate personal narratives and cultural identity into your work?

Memory in my work serves both as thematic and structural. There is the autobiographical component of the expression where I am channeling the lived experiences of my existence in the world. In this way, the work addresses the intimate issues of family, love, angst, hope, dreams, etc. These ideas are presented in a narrative format, sometimes representational images and at other times abstract. As part of a larger cultural community, there is a collective memory that deals with the historical recall of my culture. Here, the work enters into the imaginative realm, where I am usinghistorical information to recall events. Through this process of imagining and constructing images and events that express the past, I am highlighting the shared experiences of my culture. The structural and stylistic elements of memory are expressed through non-objective forms of lines and fragmented shapes. The marks are fluid and intuitive, with colors evoking emotions. They are sometimes spontaneous, seemingly expressing a type of stream of consciousness. The constant overlapping of visual elements creates depth that represents the movement into the past. The work is, at times, intensely emotional, with a focus on visual depth. This construction is meant to evoke a subjective response from the viewer where they, too, are confronted with the task of interpreting the meaning of the experience of the work. 

Your work shifts between reality and abstraction. What significance does this duality hold for you as an artist?

I think that this duality is important since I believe that one must express consciousness in non-objective forms. The emotional moments in a piece communicate feelings using abstract elements such as lines, shapes, and colors. These elements are not grounded in any specific narrative that can be represented in the real world. They are emotional "apparitions" that express internal states. In a way, the shift between abstract and reality sustains visual interest from a purely visual perspective; however, it serves to reflect the complexity of perception and reality where our understanding of the world requires a deeper insight beyond the literal. In this way, I invite my audience to think more intensely about larger philosophical questions of life.

What are some of the key inspirations or motifs that consistently appear in your paintings?

The key motifs that appear in my work are religious imagery and symbols, nature in the forms of the landscape, and the human figure. These images are drawn from my own personal history and upbringing. Catholicism was a major influence in my life, so many Christian symbols and historical references to the faith are often used to frame my own narrative, albeit within a new context.  Nature is closely aligned to the "divine" in my work, and the earthly tones and colors often express the life force. There is both beauty and death in nature that represents the cycle of life. This is sometimes observed through the radial design elements as part of the compositional structure. Nature provides inspiration for its fragility, which is evident, yet its beauty has a profound and powerful effect on our senses. 

What new projects or themes are you currently exploring, and where do you see your art practice evolving in the future?

I am currently working on a new series of work that has at the center the power of the "female figure" and the historical role the image has played throughout human civilization. I intend to explore the different cultural approaches to the female image and how it has been used to construct shared identity. Creating out of the contemporary environment, this theme will become an important part of my work and the coming narratives to be told. 

And lastly, as we are halfway through this year, what is your biggest goal for 2024, and how close are you to achieving it?

My plan for this year has always been to continue to work as a practicing artist more intensely.  I plan to work in my studio with some consistency while at the same time participating in more public showing of my work in the form of exhibits. I will pursue some artist residencies and fellowships in order to engage with creative thinkers and exchange valuable ideas. 

Artist’s Talk

Al-Tiba9 Interviews is a promotional platform for artists to articulate their vision and engage them with our diverse readership through a published art dialogue. The artists are interviewed by Mohamed Benhadj, the founder & curator of Al-Tiba9, to highlight their artistic careers and introduce them to the international contemporary art scene across our vast network of museums, galleries, art professionals, art dealers, collectors, and art lovers across the globe.