Kiki Smith
Mind's Eye, 2015
Courtesy of the Artist and Pace Gallery.
Kiki Smith’s “Mind’s Eye” is an ongoing edition of two …
Courtesy of the Artist and Pace Gallery.
Kiki Smith’s “Mind’s Eye” is an ongoing edition of two isolated eyes. From each iris six lines fan out, roughly equidistant and extending onto the blank part of the page, while a pattern in yellow ocher overlays both eyes. This design resembles an animal pelt, and renders the …
Using a multitude of mediums and materials, Kiki Smith’s collections are meditations on life and spirituality, often featuring narratives about origins and endings. For the installation Pilgrim (2007-2010), Smith created nearly 30 panels of black and white stained glass supported by steel frames, each representing a stage in a woman’s life and evoking the stations of a pilgrimage. Smith has worked extensively in glass, from the molded sculpture of entangled spermatozoa in Untitled (1989–1990) to the rose window of the Eldridge Street Synagogue (2010) in New York City’s Lower East Side.
Courtesy of the Artist and Pace Gallery.
Kiki Smith’s “Mind’s Eye” is an ongoing edition of two …
Courtesy of the Artist and Pace Gallery.
Kiki Smith’s “Mind’s Eye” is an ongoing edition of two isolated eyes. From each iris six lines fan out, roughly equidistant and extending onto the blank part of the page, while a pattern in yellow ocher overlays both eyes. This design resembles an animal pelt, and renders the …
Using a multitude of mediums and materials, Kiki Smith’s collections are meditations on life and spirituality, often featuring narratives about origins and endings. For the installation Pilgrim (2007-2010), Smith created nearly 30 panels of black and white stained glass supported by steel frames, each representing a stage in a woman’s life and evoking the stations of a pilgrimage. Smith has worked extensively in glass, from the molded sculpture of entangled spermatozoa in Untitled (1989–1990) to the rose window of the Eldridge Street Synagogue (2010) in New York City’s Lower East Side.
