Lionel Smit

Smit’s reference to the end of the world can also be understood as an end of ‘the-world-as-we-know-it’. His use of the same face repeated, once again repatriates original identity. Smit’s work thus indicates this model crisis, this state of the accumulation of disorder, as the end of the individual - remodeled in the wake of global consumerism. Smit’s work signifies identity and the human condition thus surpassing time and history.

This is an installation of +- 70 Heads that represents the human race.
The installation could still be done with less pieces.
Each piece is cast in Resin and Fiberglass and painted with automotive paint

This sculpture of a Cape Malay woman, commonly from the Cape area in South-Africa, is a resin cast with Ducol (car paint) on the sculpture.
The shafts in the head, inspired by the Benin bronzes, are pieces from the wooden frame of a canvas, and explore the deeply rooted running-dialogue between sculpture and painting in my work.

The sculpture consists of two bronze heads facing two opposite directions. It evolves around the concept of repetitiveness, how we receive information and respond to it.

This painting forms part of a series entitled "Surface" where I explore how we see and interpret images.
I have combined an abstract expressionistic and a naturalistic style. Up-close there are flat areas of silver oil paint that translates only into abstract shapes. Only when the viewer steps back to discover the image does the 'conceptual transcendence' of the work develop

This work explores different concepts on how we observe and interpret the human condition in all its vulnerability.

This piece forms part of the "Surface" exhibition. a New body of work that investigates surfaces.