Alexandria Smith

Theatrical and metaphysical, the paintings and drawings incorporate forces of creation, destruction, and transmutation across interconnected planes of existence. Doors and windows link proscenium arches, paneled walls, columns, and other architectural components with primordial and celestial landscapes composed of vibrant pigments, glitter, and three-dimensional forms that begin to extend out into the viewer’s space. Dueling elemental forces occupy these scenes in the forms of billowing clouds, growing tendrils, erupting volcanoes, and cleansing waves. Smith’s hybrid figures are also in constant flux as polymorphic amalgams of body parts; ambiguously gendered, they stretch, divide, and redouble within the compositions. Flanking the margins of these utopian spaces and melding with them, her protagonists bear witness and take action, embodying transformation and growth.

Smith explains: “This work is a display of futurist thinking, imagining other worlds not tethered to the past or present, in which magic, tenderness, and liberation happen. Since we don’t feel in a linear fashion, why can’t that concept manifest in another world, translating real-life experiences into an imagined landscape that welcomes hybridity and difference? What might it look like to conjure a dream within this painted realm?”

The title Pretend Gravitas and Dream Aborted Givens is inspired by a 2011 essay by Smith’s mentor, the late writer Greg Tate, and is intended as a tribute to him. In this essay, Tate wrote that Smith’s characters seem to “identify totally with the need for all ghosts, freaks, and spooks to make peace with the everyday realms of the mundane and the quotidian. The unmagic realism of it all. The ghost world of grownfolks with its dull grey-areas, pretend gravitas, and dream-aborting givens.”

Smith will create an immersive multimedia environment entitled Memoirs of a Ghost Girlhood: a Black Girl’s Window at the Currier Museum of Art in Manchester, New Hampshire, opening on June 30, 2022.