The Remains of Memory

detail from "The Idea of Order"

The Remains of Memory Oliver Smith osmiths@mindspring.com
The act of recall is important to my work. Every mark made and every change that takes place records itself into the memory of the piece. These events vanish and return as the work evolves. Buried colors and textures rise to the surface as it is scraped down and repainted. The resulting work is a summary of closely related events where past and present merge into a single entity. An important influence is the mnemonic effect created by architectural alterations. Bricked up windows, doors and scarred walls found in older buildings are muted reminders of a former existence. Unable to conceal their past these transformations create a history of unknown connections. A past veiled in mystery exists at these sites that begs to be uncovered. The artwork shown contains vestiges of earlier states. Sealed openings, traces of underpainting, repositioned images lie in waiting. Looking at the work becomes an act of inquiry that reveals the persistence of memory and offers a changing identity. Access to the inner world of the work is through window like areas. Openings extend inside the three dimensional pieces. Imagery contained within is obscured by metal grills and other coverings. The two dimensional works also present enclosed imagery. Layers of transparent paint nearly hide house shapes and solitary human figures. These forms push forward and retreat like vague recollections. Images crystallize briefly, dual forms connect only for a moment. Then everything is pulled back to a darkened, almost forgotten past.
About the works
The pieces shown consist of images and constructions. Images incorporate digitally manipulated photographs reproduced as photoetched prints. The prints are attached to larger sheets of paper. The entire surface is treated by adding and removing layers of translucent acrylic paint. Constructions are three dimensional boxes covered in thick paper. This paper is also subjected to the addition and removal of numerous layers of paint. Openings cut into the box fronts reveal prints, photographs and drawings inside the structures. Metal grills, screens or plexiglass usually fill the openings. Drastic alterations often occur during the development of the images and constructions.

"Unchanging Emblem"

1998, construction with charcoal drawing and mixed media, 48 x 48 x 4 inches

"Fall Without Diverging"

1998, photoetch with mixed media, 23 x 37 inches

"Darkening of Memory"

1998, construction with color photocopy and mixed media, 48 x 48 x 6 inches

"Undefined Light"

1998, construction with photoetch and mixed media, 48 x 48 x 5 inches

"Obscured by Sleep"

1998, construction with photoetch and mixed media, 48 x 48 x 4 inches

"Light Drawn from Darkness"

1998, diptych construction with hardground etching and mixed media, 48 x 41 x 6 inches

"The Black Lid"

1998, photoetch with mixed media, 23 x 37 inches

"A Nameless Air"

1998, photoetch with mixed media, 23 x 37 inches

"The Idea of Order"

1998, photoetch with mixed media, 23 x 37 inches

detail from "The Idea of Order"
The Remains of Memory Oliver Smith osmiths@mindspring.com The act of recall is important to my work. Every mark made and every change that takes place records itself into the memory of the piece. These events vanish and return as the work evolves. Buried colors and textures rise to the surface as it is scraped down and repainted. The resulting work is a summary of closely related events where past and present merge into a single entity. An important influence is the mnemonic effect created by architectural alterations. Bricked up windows, doors and scarred walls found in older buildings are muted reminders of a former existence. Unable to conceal their past these transformations create a history of unknown connections. A past veiled in mystery exists at these sites that begs to be uncovered. The artwork shown contains vestiges of earlier states. Sealed openings, traces of underpainting, repositioned images lie in waiting. Looking at the work becomes an act of inquiry that reveals the persistence of memory and offers a changing identity. Access to the inner world of the work is through window like areas. Openings extend inside the three dimensional pieces. Imagery contained within is obscured by metal grills and other coverings. The two dimensional works also present enclosed imagery. Layers of transparent paint nearly hide house shapes and solitary human figures. These forms push forward and retreat like vague recollections. Images crystallize briefly, dual forms connect only for a moment. Then everything is pulled back to a darkened, almost forgotten past. *About the works* The pieces shown consist of images and constructions. Images incorporate digitally manipulated photographs reproduced as photoetched prints. The prints are attached to larger sheets of paper. The entire surface is treated by adding and removing layers of translucent acrylic paint. Constructions are three dimensional boxes covered in thick paper. This paper is also subjected to the addition and removal of numerous layers of paint. Openings cut into the box fronts reveal prints, photographs and drawings inside the structures. Metal grills, screens or plexiglass usually fill the openings. Drastic alterations often occur during the development of the images and constructions.
	"Unchanging Emblem" 1998, construction with charcoal drawing and mixed media, 48 x 48 x 4 inches

	"Fall Without Diverging" 1998, photoetch with mixed media, 23 x 37 inches

	"Darkening of Memory" 1998, construction with color photocopy and mixed media, 48 x 48 x 6 inches

	"Undefined Light" 1998, construction with photoetch and mixed media, 48 x 48 x 5 inches

	"Obscured by Sleep" 1998, construction with photoetch and mixed media, 48 x 48 x 4 inches

	"Light Drawn from Darkness" 1998, diptych construction with hardground etching and mixed media, 48 x 41 x 6 inches

	"The Black Lid" 1998, photoetch with mixed media, 23 x 37 inches

	"A Nameless Air" 1998, photoetch with mixed media, 23 x 37 inches

	"The Idea of Order" 1998, photoetch with mixed media, 23 x 37 inches