Seton Smith

Seton Smith a réalisé cette série de photographies dans l’Ohio à Hopewell, un lieu historique dans lequel se trouvent des tumulus vestiges de la tribu Indienne Adena. Subsistent aujourd’hui de cet ancien site spirituel et funéraire des formes sculpturales qui émergent du paysage. Fonctionnant en série sous forme de diptyques, de triptyque ou d’une image seule, ces photographies, où les lignes et l’horizon servant de repères, permettent à Seton Smith d’évoquer subtilement la mémoire et sa confrontation en tant qu’artiste à la fragilité des civilisations et à l’évanescence de notre passage sur terre.

Seton Smith a réalisé cette série de photographies dans l'Ohio à Hopewell, un lieu historique dans lequel se trouvent des tumulus vestiges de la tribu Indienne Adena. Subsistent aujourd'hui de cet ancien site spirituel et funéraire des formes sculpturales qui émergent du paysage. Fonctionnant en série sous forme de diptyques, de triptyque ou d'une image seule, ces photographies, où les lignes et l'horizon servant de repères, permettent à Seton Smith d'évoquer subtilement la mémoire et sa confrontation en tant qu'artiste à la fragilité des civilisations et à l'évanescence de notre passage sur terre.

Seton Smith a réalisé cette série de photographies dans l'Ohio à Hopewell, un lieu historique dans lequel se trouvent des tumulus vestiges de la tribu Indienne Adena. Subsistent aujourd'hui de cet ancien site spirituel et funéraire des formes sculpturales qui émergent du paysage. Fonctionnant en série sous forme de diptyques, de triptyque ou d'une image seule, ces photographies, où les lignes et l'horizon servant de repères, permettent à Seton Smith d'évoquer subtilement la mémoire et sa confrontation en tant qu'artiste à la fragilité des civilisations et à l'évanescence de notre passage sur terre.

Seton Smith a réalisé cette série de photographies dans l’Ohio à Hopewell, un lieu historique dans lequel se trouvent des tumulus vestiges de la tribu Indienne Adena. Subsistent aujourd’hui de cet ancien site spirituel et funéraire des formes sculpturales qui émergent du paysage. Fonctionnant en série sous forme de diptyques, de triptyque ou d’une image seule, ces photographies, où les lignes et l’horizon servant de repères, permettent à Seton Smith d’évoquer subtilement la mémoire et sa confrontation en tant qu’artiste à la fragilité des civilisations et à l’évanescence de notre passage sur terre.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence.
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Exhibitions:
- Kiki & Seton Smith, A Sense of Place, A Hometown Tribute Exhibition, Seton Hall University, 30th Oct- 9th Dec 2016
-  Second Mark, Gallery SissoParis, from September 18th septembre to October 27th 2015

Bibliographie:
- Kiki & Seton Smith, A Sense of Place, A Hometown Tribute Exhibition, New- Jersey, Etats-Unis, p. 24

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life's marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life’s marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

Bibliography:
- Kiki & Seton Smith, A Sense of Place, A Hometown Tribute Exhibition, New- Jersey, Etats-Unis, p. 28

This photograph of a room in the Insel Hombroich Museum, located near Dusseldorf is in line with the architectural minimalism that characterizes Seton Smith’s work. 
Perspective drives the eye towards the outside, contrasting with the luminous and seemingly empty inside of the room. 
Phantasmagorical testimony of an absence, this photograph invites the viewer to project themselves into the universe of memory of the works and to penetrate the image in order to sense their presence in counterpoint.

This photograph of a room in the Insel Hombroich Museum, located near Dusseldorf is in line with the architectural minimalism that characterizes Seton Smith’s work. 
Perspective drives the eye towards the outside, contrasting with the luminous and seemingly empty inside of the room. 
Phantasmagorical testimony of an absence, this photograph invites the viewer to project themselves into the universe of memory of the works and to penetrate the image in order to sense their presence in counterpoint.

Since 2012, Seton Smith has begun taking photographs of houses in different areas within the United States. Using black and white, and increasing focus sharpness, she slightly modifies her photography technique to produce works in the continuity of her endeavour to decode elements of power in architecture.
According to her, houses and more generally architecture shape individuals. Conversely, buildings, private housing or public institutions embody fragments of life's marks and memories of human existence. 
In these large series of photographs, conceptualised as a road-trip across the American territory, it is all the individual and global history of the country which is elucidated and which can be felt in relation to these solitary houses.

This series of photographs has been produced by the artist during a visit of renovated row houses in 2003 in the third district of Houston, Texas.
These row houses are former “Shotgun Houses” (12’ wide 3.5 m), little traditional Haitian houses introduced in the south of the United States, notably in New Orleans in the 19th century. The front door is placed in the same axis of the back door, and the legend tells that a gunshot through the door traversed the entire hall. These houses sheltered freed slaves and proletarian families.
The ensemble has been built in the 1930s according to this model and then renovated in the 1990s by community activists organising a social and artistic project named “Project Guest Houses”. Until now, forty houses have been renovated, hosting artists in residence who are working on the Afro-American heritage and single mother or community activities.

Exhibitions:
- Guest House, Galerie Anne-Sarah Bénichou, Paris, France 7th January- 25th February 2017
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012

This series of photographs has been produced by the artist during a visit of renovated row houses in 2003 in the third district of Houston, Texas.
These row houses are former “Shotgun Houses” (12’ wide 3.5 m), little traditional Haitian houses introduced in the south of the United States, notably in New Orleans in the 19th century. The front door is placed in the same axis of the back door, and the legend tells that a gunshot through the door traversed the entire hall. These houses sheltered freed slaves and proletarian families.
The ensemble has been built in the 1930s according to this model and then renovated in the 1990s by community activists organising a social and artistic project named “Project Guest Houses”. Until now, forty houses have been renovated, hosting artists in residence who are working on the Afro-American heritage and single mother or community activities.

Exhibitions:
- Guest House, Galerie Anne-Sarah Bénichou, 7th January- 25th February 2017
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012

This series of photographs has been produced by the artist during a visit of renovated row houses in 2003 in the third district of Houston, Texas.
These row houses are former “Shotgun Houses” (12’ wide 3.5 m), little traditional Haitian houses introduced in the south of the United States, notably in New Orleans in the 19th century. The front door is placed in the same axis of the back door, and the legend tells that a gunshot through the door traversed the entire hall. These houses sheltered freed slaves and proletarian families.
The ensemble has been built in the 1930s according to this model and then renovated in the 1990s by community activists organising a social and artistic project named “Project Guest Houses”. Until now, forty houses have been renovated, hosting artists in residence who are working on the Afro-American heritage and single mother or community activities.

Exhibitions:
- Guest House, Galerie Anne-Sarah Bénichou, 7th January- 25th February 2017
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Allemagne, 2012

This series of photographs has been produced by the artist during a visit of renovated row houses in 2003 in the third district of Houston, Texas.
These row houses are former “Shotgun Houses” (12’ wide 3.5 m), little traditional Haitian houses introduced in the south of the United States, notably in New Orleans in the 19th century. The front door is placed in the same axis of the back door, and the legend tells that a gunshot through the door traversed the entire hall. These houses sheltered freed slaves and proletarian families.
The ensemble has been built in the 1930s according to this model and then renovated in the 1990s by community activists organising a social and artistic project named “Project Guest Houses”. Until now, forty houses have been renovated, hosting artists in residence who are working on the Afro-American heritage and single mother or community activities.

Exhibitions:
- Guest House, Galerie Anne-Sarah Bénichou, Paris, France, 7 janvier- 25 février 2017
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012

Exhibitions:
- "Second Mark" Galerie Sisso, Paris, France, 2015
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Allemagne, 2012

Bibliography:
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, septembre 2012, p.54
- Seton Smith, essays by Welchman John, McGrath Patrick, Rowlands Penelope, Steinberg Claudia, p. 14-15

Exhibitions:
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Allemagne, 2012

Bibliography:
- Seton Smith, essays by Welchman John, McGrath Patrick, Rowlands Penelope, Steinberg Claudia, p. 66- 67

The Falling Trees Series was shot at Avalanche Creek in Glacier National Park, Montana, in 2006. There must have been huge storms that took down so many trees, that then decompose and nourish the forest floor for the cycle of new trees to start again, only to weather new storms.

Expositions:
- Guest House, Galerie Anne-Sarah Bénichou, Paris, France 7th January- 25th February 2017
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012

Bibliography:
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, september 2012, p.45.
- Seton Smith, essays by Welchman John, McGrath Patrick, Rowlands Penelope, Steinberg Claudia, p. 68-69

Drawn and made by Tony Smith in 1951, this Guest House is a private property located in Guilford, Connecticut. Invited coincidentally in this house, Seton Smith was marked by this encounter with  her father’s architectural minimalism. Hence, she made a series of four photographs named Guest House. Composed of bedrooms at each end, a bathroom and a central kitchen resting on pylons overhanging the Long Island Sound, this house represents the efficiency of modernism through its sober and humble design. Moreover, the view on the estuary fills with life the place, which appears as perched within space. Relying on this architectural minimalism, she occults it through the perspective, as a way to play with her familial architectural heritage. 

Exhibitions:
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012
- Winston Wachter Gallery, Seattle, Etats-Unis, 2007

Bibliographie:

- FRANGNE Pierre Henry et LIMIDO Patricia, Les inventions photographiques du paysage, presses universitaires de Rennes, 2016, p. 28
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, septembre 2012, p.52

Drawn and made by Tony Smith in 1951, this Guest House is a private property located in Guilford, Connecticut. Invited coincidentally in this house, Seton Smith was marked by this encounter with  her father’s architectural minimalism. Hence, she made a series of four photographs named Guest House. Composed of bedrooms at each end, a bathroom and a central kitchen resting on pylons overhanging the Long Island Sound, this house represents the efficiency of modernism through its sober and humble design. Moreover, the view on the estuary fills with life the place, which appears as perched within space. Relying on this architectural minimalism, she occults it through the perspective, as a way to play with her familial architectural heritage. 

Exhibitions:
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012
- Winston Wachter Gallery, Seattle, Etats-Unis, 2007

Bibliographie:

- FRANGNE Pierre Henry et LIMIDO Patricia, Les inventions photographiques du paysage, presses universitaires de Rennes, 2016, p. 28
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, septembre 2012, p.49

Drawn and made by Tony Smith in 1951, this Guest House is a private property located in Guilford, Connecticut. Invited coincidentally in this house, Seton Smith was marked by this encounter with  her father’s architectural minimalism. Hence, she made a series of four photographs named Guest House. Composed of bedrooms at each end, a bathroom and a central kitchen resting on pylons overhanging the Long Island Sound, this house represents the efficiency of modernism through its sober and humble design. Moreover, the view on the estuary fills with life the place, which appears as perched within space. Relying on this architectural minimalism, she occults it through the perspective, as a way to play with her familial architectural heritage.

Exhibitions:
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012
- Winston Wachter Gallery, Seattle, Etats-Unis, 2007

Bibliography:

- FRANGNE Pierre Henry and LIMIDO Patricia, Les inventions photographiques du paysage, presses universitaires de Rennes, 2016, p. 28
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, septembre 2012, p.51.

Drawn and made by Tony Smith in 1951, this Guest House is a private property located in Guilford, Connecticut. Invited coincidentally in this house, Seton Smith was marked by this encounter with  her father’s architectural minimalism. Hence, she made a series of four photographs named Guest House. Composed of bedrooms at each end, a bathroom and a central kitchen resting on pylons overhanging the Long Island Sound, this house represents the efficiency of modernism through its sober and humble design. Moreover, the view on the estuary fills with life the place, which appears as perched within space. Relying on this architectural minimalism, she occults it through the perspective, as a way to play with her familial architectural heritage. 

Exhibitions:
- Kiki Smith, Seton Smith, Tony Smith, Kunstmuseum, Vaduz, Liechtenstein, 2013
- Kiki Smith, Seton Smith, Tony Smith, Les Abattoirs, Toulouse, France, 2013
- Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Germany, 2012
- Winston Wachter Gallery, Seattle, Etats-Unis, 2007

Bibliography:

- FRANGNE Pierre Henry and LIMIDO Patricia, Les inventions photographiques du paysage, presses universitaires de Rennes, 2016, p. 28
- MESCHEDE Friedrich (HG.), Kiki Smith, Seton Smith, Tony Smith, Bielefeld Kunsthalle, Bielefeld : Kerber Christof Verlag, september 2012, p.50

Seton Smith has taken many photographs of museum interiors. In Blue Ground With Stone, it is archaeological elements located in Italy that interest the artist. This piece of art is typical of her work and takes the opposite stance of museum photographs traditionally focused on the promotion of artworks. Manipulating blurring focus and close perspective, the artist produces an image close to a monochrome which dismantles customary structures. We cannot embrace what is pictured and the artwork’s main stake is not the object in itself but the sentiment extracted from its shot. She confronts the viewer to its own representation and questions the notion of space and artwork integrated in the museum.

Seton Smith has taken many photographs of museum interiors. In Orange Ground With Plate, it is archaeological elements located in Italy that interest the artist. This piece of art is typical of her work and takes the opposite stance of museum photographs traditionally focused on the promotion of artworks. Manipulating blurring focus and close perspective, the artist produces an image close to a monochrome which dismantles customary structures. We cannot embrace what is pictured and the artwork’s main stake is not the object in itself but the sentiment extracted from its shot. She confronts the viewer to its own representation and questions the notion of space and artwork integrated in the museum.

Exhibition:
- Second Mark, Galerie Sisso, Paris, 18th september- 27 October 2015

For the last two decades, Seton Smith initiated to photograph architecture of ancient and historical buildings, without intending to glorify their structure but to embrace an emotional connotation, a piece of history or a life fragment.
Off-screens, blurring and unbalances are used to disturb image interpretation; a loss of immediateness in the comprehension provokes an emphasis on architectural elements, such as this large window represented as even more imposing thanks to the contrast.

Exhibition :
- Cent 8, Paris, France, 2001