Bec Smith
Bec Smith is a Melbourne-based designer and artist who uses her training in graphic design to create geometric paintings.
Words: Emma-Kate Wilson
From left to right, A Blessing in Disguise Is Still A Gift / Fortune, Neither Here Nor There Really / Divided and Giant Golden Pearl In A Cradle / Wisdom by Bec Smith. Photo - Ari Hatzis.
Bec Smith first memories of making art were in kindergarten, loving her art classes and using craft throughout everything she did. However, along the path of education, like most can imagine, becoming an artist somehow slipped off the career trajectory. Instead, she found similar interests in commercial photography, graphic and digital design. In recent years, the storytelling nature of art has called her back, and now Bec finds herself jumping across to the creative side — or “back as it were.”
Today, Bec is an artist who takes inspiration from our perception of things. “How the inverse of something can also hold true and how two truths can co-exist,” she thoughtfully muses. Philosophical theories of time and society seep into the paintings. Bec reflects on elements that transpire in nature, politics, conversations, identity, philosophies of thought, and of course, colour which provides the artist with everlasting inspiration.
All her years in graphic design and communications allows the artist to consider the spatial, textural, and colour theory in depth. “Thinking about colour, shape and composition is like having a second language, it’s incredibly potent, and the best way I can bring my ideas into the world,” Bec shares.
A Continuum Of The Present Moment by Bec Smith. Photo - Daniel Mahon.
“I’m an introvert disguised as an extrovert. More and more my interior world and my private life is one where I’m the most content,” says Bec Smith. Photo - Natalie Jeffcott.
Threshold I by Bec Smith. Photo - Natalie Jeffcott.
Fortune, Neither Here Nor There Really / Divided by Bec Smith. Photo - Ari Hatzis.
A typical day in the studio would start with a school drop-off with her son, coffee, emails and organising — but she shares it rarely looks like this. Hopefully, she can fit some drawing and gouache studies in the morning, so the afternoons are saved for the painting process as it takes a long time to develop the layers of colours and textures.
Bec favourite series of works she made include a set of sculptures for Melbourne Design Week installed at Orica House as part of her partner Kit Warhurst’s show, The Man About The House. At the time she was inspired by Jean Arop’s plaques she’d seen in Venice and Paris, and so using her sketches, built them into 3D forms. “I worked with Pop and Scott who helped me envision this, and really bring them to life with their craft,” Bec adds. “It was so incredible to work off the two-dimensional landscape.”
“I always enjoyed being immersed in art and have vivid memories of drawing and playing with paint and learning craft techniques in kindergarten and primary school.”
This year, the artist is hoping to create more sculptures for her solo exhibition at Saint Cloche, in Sydney, as well as more drawings on paper. “They hold a freshness and delicate mark of hand that’s so different from my large paintings,” the artist reflects. “I’m also looking forward to my first ever trip to Japan, which I’m certain will bring a bounty of inspiration my way.”
Shimmy Around The Quarry by Bec Smith. Photo - Daniel Mahon.
“Thinking about colour, shape and composition is like having a second language, it’s incredibly potent, and the best way I can bring my ideas into the world,” shares Bec Smith. Photo - Prue Aja.
“Practically speaking, the technical aspects of colour mixing is an engrossing activity with everlasting inspiration.”
You Cannot Step Into The Same River Twice by Bec Smith. Photo - Daniel Mahon.
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