Sarah Smith’s As the Crow Flies聽was longlisted for the Aesthetica Art Prize in 2015. Her photography concerns itself with the continuous search for something that is elusive and unattainable. Smith’s ongoing practice聽addresses a deeply-held fascination with birds, but looks deeper into the complex symbolisms and metaphors that surrounds them and their connection to life鈥檚 transitions and challenges. Her selected piece also portrays a sense of聽liminality, and seeks聽to expand a split second in time as hurtle聽towards the inevitable. We speak to Smith about her work and preoccupation with the subject of birds.
A: Your longlisted piece is titled As the Crow Flies. What inspired you to create this work?
SS: The idea for As the Crow Flies was conceived for my BA Major Project. It鈥檚 obviously inspired by my obsession with the bird, but also came out of a desire to articulate a certain atmosphere. At the outset I had quite a clear idea of the aesthetic I wanted to achieve.
A: You often experiment with the mediums of photography, film and video. Does your practice follow a similar structure and do you return to any particular themes?
SS: After graduating, I realised I wanted to take things further. While studying for my Masters in Fine Art, I found that the themes I鈥檇 begun to explore started to take on much more rooted resonance. My practice now continues to make further enquiry into the theme I鈥檇 only touched on with this particular project. Essentially the crows, for me, have become an allegorical symbolism of our own mortality. So, yes, I do return to that particular theme and crows continue to be a vehicle for expressing that, whether they鈥檙e present in an image or not.
A: In the past, which artists have informed your work the most?
SS: Every day I see inspirational work created in all mediums by a broad spectrum of both new and established artists. As a photographer, I鈥榤 particularly intrigued by Ori Gersht鈥檚 work and what informs it. Surrendering to a repetitive theme that is deeply and personally compelling is just fine all the time it remains unresolved. The themes that Gersht addresses are inexhaustible, they can never be concluded. In帽aritu鈥檚 2014 film聽Birdman or (the unexpected virtue of ignorance) addresses the complexity of the desire to suspend, versus the absolute futility, of our existence. Evgenia Arbugaeva鈥檚 work offers both a simplicity and depth that I continue to strive for. The exquisite beauty of Sarah Moon鈥檚 work, both film and stills, also comes to mind.
A:聽Birds are a strong motif throughout your practice. When did you begin to have a deep fascination of birds, and what is so intriguing about this creature?
SS: Crows (in fact all corvids) have always intrigued me. They are fascinating and intelligent creatures. I find their habits, rituals and flying displays utterly compelling and I really am in continual pursuit, forever attempting to capture their very essence. For me, they鈥檙e about communicating our fleeting presence upon this planet. For this series I also photographed a tame Raven. The sheer awesomeness of being in the same room, up close and personal, with such a magnificent creature only deepened my intrigue.
A:聽How has the Aesthetica Art Prize supported the development of your career?
SS: I can鈥檛 honestly say that being longlisted by Aesthetica has changed my life! But, it certainly helped to endorse my self-belief. The art world is bursting with talent and having recognition bestowed from such an acclaimed and widely-respected body as Aesthetica was an absolute privilege. I think this gave me permission to take myself seriously as an artist.
See more of Sarah Smith’s work:聽.
The Aesthetica Art Prize is now open for entries. Prizes include 拢5,000 for the Main Prize Winner and 拢1,000 for the Student Prize Winner courtesy of Hiscox.聽To enter, visit .
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Credits
1. Sarah Smith, As the Crow Flies (III), 2013, 80cm x 55cm. Courtesy of the artist.
