KIKI SMITH

Kiki Smith Sculpture and Catholicism

Smith’s artwork is heavily influenced by her Catholic upbringing. The early work Hand in Jar (1983), for example, explores themes of decay and corporeality whilst reminding one of a reliquary. A sculpted latex hand rests submerged in a Mason jar, with algae indicating decomposition and a return to nature.

More explicit religious references are present in Smith’s bronze sculptures of Biblical women, such as Lilith and Mary Magdalene (both 1994). In these and other female nudes, Smith reclaims the portrayal of the female nude. Lilith is installed crouching on a wall, her body hidden, while the surface of Mary Magdalene is roughly rendered, save for her face, breasts, and the area around her navel. Another sculptural work Untitled (1990) features a beeswax man and woman hanging limply, as if crucified, whilst semen and breast milk drip from their bodies.

Prints and Drawings

Smith has also produced many works on paper, and she is particularly notable for her prints. The 1999 series ‘Blue Prints’ saw Smith experiment with aquatint and drypoint to create images of femininity, childhood, and fantasy. Many of these prints incorporate animal imagery, such as Wolf Girl (1999). Wolves as well as birds have been a frequent source of inspiration for Smith.

In a series of drawings from 2000 to 2002, which include Lying with the Wolf (2001), Smith explores women’s relationships with wolves and other animals through images inspired by mythology and fairy tales. Earlier works on paper such as Free Fall (1994) focus on the female body. This photoetching is similar to Lilith in its closed rendering of the body, challenging the sexualised perception of the female nude.