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Schrittmacher by Robert Smit

Exhibition  /  26 Feb 2015  -  18 Apr 2015
Published: 01.03.2015
Maurer Zilioli Contemporary Arts
Management:
Ellen Maurer Zilioli
.

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Intro
The exhibition, consisting of about 30 important pieces represent a small survey concentrating on the present experiments with word and text fragmentation as well as painterly composed inventions.

Artist list

Robert Smit
In the complete history of art exists the phenomenon of outstanding personalities which do not belong to any “school”, to any current or movement, but claim their own singular and separated position. To this category we associate Robert Smit, born in 1941 in Delft / NL, hometown of light blue fayences, like the sky above Holland. In 2014 he was awarded with the Goldenen Ehrenring of the Deutsche Gesellschaft für Goldschmiedekunst. In 2016 he will celebrate his seventy fifth birthday.

Smit, as young observer, has witnessed the departure in avant-garde art after the Second World War. He was among the circle of NUL in Delft (the Dutch version of ZERO), in particular close to Jan Schoonhoven. In the beginning of the sixties he went to Pforzheim to study jewelry with Klaus Ullrich. Since then he is known worldwide as a jewelry artist.
In the meantime we can look back on a rich and varied oeuvre full of surprises, which include both drawing and classical goldsmith’s labour, experimental research as well as the conceptual
examination of artistic questions and technologies used in the digital production of images. Color sound, linear structure, the handling of paper and pen, composition and narrative tendencies shape his creative range. From a young age Smit had the opportunity to absorb parallel and similar reflections in other areas of the arts. This was essential for his ongoing process and has been a decisive factor for his artistic autonomy.
In 1972 he left jewelry, to turn back in 1984 and confess his love for gold. He remains faithful to a sort of constructivist interpretation of jewels, and to graphics and drawings as expression of material thinking. His pieces are reminiscent of Dutch still lifes, sea landscapes, vedutas and genre paintings – this however only as background information and reference to his origins.
At the same time matrix and reduction testify in his work a narrow relationship to abstract traditions in art. The quintessence lies at the end in a metaphorical sign, in a poetic synthesis between modernity and contemporary language, a development which is becoming stronger with the combination of words and a gestural esthetic vocabulary.
With Smit jewelry is transforming in cultural message and reminiscence. It talks about cultural
experience and memory. Ornament, figuration and abstraction conspire in perfect harmony.

 -2016-2016
Robert Smit. Brooch: Marken 10.9.2008, 2008. Gold, silver, paint, Epson ultrachrome K3 ink. 6.2 x 6.5 x 0.8 cm. Photo by: Robert Smit. Robert Smit
Brooch: Marken 10.9.2008, 2008
Gold, silver, paint, Epson ultrachrome K3 ink
6.2 x 6.5 x 0.8 cm
Photo by: Robert Smit
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Robert Smit. Brooch: Nabij Kerkbuurt, Marken, 2008. Gold, silver, paint, Epson ultrachrome K3 ink. 6 x 7.2 x 3.3 cm. Photo by: Robert Smit. Robert Smit
Brooch: Nabij Kerkbuurt, Marken, 2008
Gold, silver, paint, Epson ultrachrome K3 ink
6 x 7.2 x 3.3 cm
Photo by: Robert Smit
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Robert Smit. Brooch: Veritatis Splendor, 1993. Gold oxidized, diamonds. 22.6 x 14.4 cm. Photo by: Robert Smit. Robert Smit
Brooch: Veritatis Splendor, 1993
Gold oxidized, diamonds
22.6 x 14.4 cm
Photo by: Robert Smit
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Robert Smit. Brooch: Letters to Madonna delle Dolomiti, 2013. Print on painted tin plate. 19.5 x 8 x 4 cm. Photo by: Aldo Smit. Front and back side. Robert Smit
Brooch: Letters to Madonna delle Dolomiti, 2013
Print on painted tin plate
19.5 x 8 x 4 cm
Photo by: Aldo Smit

Front and back side

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Robert Smit. Brooch: Letters to Madonna delle Dolomiti, 2015. Print on painted tin plate. 19 x 8 x 4 cm. Photo by: Robert Smit. Robert Smit
Brooch: Letters to Madonna delle Dolomiti, 2015
Print on painted tin plate
19 x 8 x 4 cm
Photo by: Robert Smit
© By the author. Read Klimt02.net Copyright.
Robert Smit. Necklace: Madonna Dolomiti XII, 2007. Gold, silver, Epson print on paint. 12 x 10 cm. Photo by: Robert Smit. Robert Smit
Necklace: Madonna Dolomiti XII, 2007
Gold, silver, Epson print on paint
12 x 10 cm
Photo by: Robert Smit
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Robert Smit. Photograph: Everyday adorment, 1975. Polaroid sx70. Photo by: Robert Smit. Robert Smit
Photograph: Everyday adorment, 1975
Polaroid sx70
Photo by: Robert Smit
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Robert Smit. Object: Letters to Madonna delle Dolomiti, 2013. Print on painted rvs. 20 x 15 x 9 cm. Photo by: Aldo Smit. Robert Smit
Object: Letters to Madonna delle Dolomiti, 2013
Print on painted rvs
20 x 15 x 9 cm
Photo by: Aldo Smit
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Robert Smit. Brooch: Looking for Madonna Dolomiti VI, 2006. Gold, silver, paint. 8 x 7.5 x 0.7 cm. Photo by: Robert Smit. Robert Smit
Brooch: Looking for Madonna Dolomiti VI, 2006
Gold, silver, paint
8 x 7.5 x 0.7 cm
Photo by: Robert Smit
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Robert Smit. Object: Letters to Madonna delle Dolomiti, 2013. Print on painted rvs. 22 x 15 x 8.5 cm. Robert Smit
Object: Letters to Madonna delle Dolomiti, 2013
Print on painted rvs
22 x 15 x 8.5 cm
© By the author. Read Klimt02.net Copyright.
Robert Smit. Necklace: Cwrt from Maes-ifan, 2004. Gold, silver, lead, paint. 12.5 x 12.5 cm. Photo by: Robert Smit. Robert Smit
Necklace: Cwrt from Maes-ifan, 2004
Gold, silver, lead, paint
12.5 x 12.5 cm
Photo by: Robert Smit
© By the author. Read Klimt02.net Copyright.
Robert Smit. Photograph: Everyday adorment, 1975. Photo paper. Exhibited in 1975 in the V&A London. Robert Smit
Photograph: Everyday adorment, 1975
Photo paper

Exhibited in 1975 in the V&A London

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