Inside the Horizon was developed during an artist residency in Italy and draws from the geometric formations of the Tuscan landscape. Beginning with a two-dimensional sketch of the fields, Smith approached the land as a system of edges and contours, treating abstraction as a method rather than a gesture.

The drawing was then translated into three dimensions through a process of rotation, inversion, and expansion. Smith imagined the absent fields as negative space, suspending the form as a hollow structure shaped as much by what is missing as by what remains.

Throughout this process, Smith reflects on the land as a carrier of data—holding geological memory, human intervention, and accumulated history within its surface. Inside the Horizon proposes landscape as an archive, where material, time, and information intersect beneath the visible terrain.

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Each of Smith’s sculptures is accompanied by an editioned print that functions as its “DNA blueprint”, generated through the artist’s sculpting and scanning process. Printed as a fine art Giclée on Hahnemühle Photo Rag, one of the most archival papers available, the print operates both as documentation and as an independent artwork, preserving the sculpture’s essence in two-dimensional form.

For Smith, the print is an essential extension of the sculpture. Through digital processing, the form moves between dimensions, existing as both physical presence and flattened image. This pairing reflects her ongoing inquiry into how identity now operates across physical and digital realms, where presence is increasingly distributed, and a digital counterpart has become integral to how objects and individuals are seen and understood.

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