Internal Universe explores the notion of invisible energy within the human body, drawing on yogic practices that link breath, movement, and inner awareness. Smith’s research led her to the pineal gland, long associated with intuition and perception, and to its recurring symbolic presence across cultures.

References to the pinecone and the Egyptian Eye of Horus emerge not as fixed symbols, but as points of convergence between mythology, anatomy, and embodied knowledge. These forms suggest a shared historical attempt to understand the unseen forces that shape human experience.

Through sculpture, Smith translates these layered references into a tactile language. Internal Universe operates as a meditation on interconnectedness, where body, belief, and form remain in constant dialogue.

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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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