Memory Palace, 42 Social Club, Old Lyme, CT
Installed in a traditional straw bale house in a wooded area of rural Connecticut, Memory Palace is a cross section of David's practice from 2015-2017. The rustic space mirrors his interest in organic processes and materials as well as home-craft techniques such as weaving, embroidery, woodworking, and stuffed sculptures. The installation is a representation of a Memory Palace, imaginary architecture that holds images and objects representative of memories that can be accessed as needed. The symmetrical installation mirrors itself and references the body, the mind, and the notion of a balanced and calm interior, adjacent to the organic chaos of the surrounding woods.
The Unseen, Halsey McKay Gallery space at 56 Henry St. 2016, NYC, NY
In this enveloping installation, David evokes a chamber from another world with his jarring yet comfortable wall sculptures. David's hauntingly complex vocabulary weaves his own photographs, nostalgic pop imagery, and pixelation, into alien-like organic forms that strike a balance between the warmth of the known and the anxiety of the unfamiliar. This installation is a microcosm distilling his unique language - a portal into his aggressively prolific practice of collecting and de-constructing images, and into another reality
Extruded Daydream, Spring / Break Art Show, March, 2016, NYC, NY
For Spring / Break Art Show 2016, David installed his works on the walls, floor, and ceiling, creating a warm, dark, and somewhat spooky environment. This cocoon-like space approximated the feeling of being inside a surreal version of David's mind, incorporating custom-made light fixtures that threw patterns of light and shadow throughout the space to highlight connections between these 'memory objects.' The aim was to create a sense of pleasant and possibly creepy disorientation, in which systems of perception and meaning are questioned, and a sense of freedom and play is cultivated.
The Seer, Halsey McKay Gallery, East Hampton, NY, January 2016
Working in opposition to Google's Deep Dream algorithm, which teaches computers to interpret images, David B. Smith programmatically de-constructs images, transforming them into soft objects that refuse to be deciphered by human or machine. His surreal and kaleidoscopic sculptures and paintings buzz with layered associative connotation, yet when one looks deeper only a ghost of the original meaning is present. In Smith's case, the emphasis is how the path can meander widely, resulting in a shifting meaning that generates beguiling results more akin to dreams that to memories.
Intimate Strangers, Franconia Sculpture Park, Shafer, MN, June 2016 to June 2017
Intimate Strangers is made up of 5 intertwined photo-sculptures related to the Franconia Sculpture Park community. Printed with digitally altered images with subjects ranging from kids at the park, to lichens found on nearby rocks, to baby pictures of members of the park community, each sculpture was made by having the the image printed on billboard material, cutting it into a snake-like shape, and stuffing it with aluminum cans and plastic bottles. The sculptures were then playfully arranged on a wooden “playground” to hint at the ever-shifting diversity, creativity, and complexity of this community and place.
Supercharger, Greenpoint Open Studios, Brooklyn, NY, 2016
Supercharger is a large scale installation made up of all the works in David B. Smith's studio. By collaging, layering and and re-composing the works on a large wall, David channelled the energy in each individual work and combined them to create something greater than the sum of its parts. Immersive, and meant to fill the field of vision, Supercharger envelops the viewer as they move closer to it, and allows them to see the individual works as they move farther away, sculpturally and architecturally changing one's perception and inviting a feeling of warmth, play and possibility to the space.
Seeing Backwards, Calico Gallery, May 2015
For his solo exhibition at Calico, David B. Smith revisits a collection of 60s and 70s pop-culture metal lunch boxes he inherited from his father and has used in performances, sculptures, photographs, and videos over the last 10 years. This exhibition is the final step in a process of digestion and exorcism, and expresses a letting go of the boxes through creating new fabric-based objects from their images. Smith also created new works for the show through a process of rebirth - a systematic yet subjective program of using photographs of the original lunch boxes to make semi-abstract, hallucinatory, kaleidoscopic, digitally-woven tapestries.