Otomys and Elynor Smithwick discuss her upcoming exhibition Covered Ground, where she explores themes of impermanence, nostalgia, and the passage of time. Through techniques of erasure and layering, Smithwick creates works that reflect the tension between the transient and the eternal. She also shares insights into her use of light, the intimacy of her miniature paintings, and how personal history and memories shape her art.
OTOMYS: In the Ely Smithwick : Covered Ground film you say ‘I’m almost trying to get to the core of something by erasing it…” Could you speak more about the painting techniques you’ve applied in this body of work to achieve this?
ELYNOR SMITHWICK: For me, the most effective way to express deep emotions in my work is to create a 'ripe' surface—one that felt full, almost at its breaking point. I take a risk by covering up early stages of my paintings with transparent layers, effectively hiding works that have already begun or were resolved.
This act of erasure allows me to start with a fresh intention and a clearer direction. The concept of impermanence, of things constantly evolving and being redefined, opens new insights into deeper truths. Strong examples of this process are You Still Feel Like Home, That Give Me Shivers, That Run Like Rivers (Bell St), and Lightweight (Francis St), where you can see the painterly layers build and shift throughout the process.
OTOMYS: There’s a beautiful tension in your work between the transient and the eternal. Your paintings capture moments of impermanence that feel both familiar and poignant.
What is it about the feeling of nostalgia, the affection you hold for the past that draws your interest?
ELYNOR SMITHWICK: I’m drawn to the past because it lives within me, it is impossible to ignore and it offers a vast landscape of tender memories. I value the sentimentality and carry it into the future: it’s a warm familiarity that binds us all. In a sense, the act of erasing parts of my paintings and starting over is my way of self reflection, of peeling back the layers.
This process was deeply informed by a recent time of transition between an established life which I have physically moved away from and the unknown life ahead of me. Covered Ground is a series of paintings reflecting on that in-between space and time where the past paves the way forward.
OTOMYS: Your characteristic gentle diffused light washes over your paintings. How do you think about light, both as a literal and symbolic element in your work, especially in relation to the passing of time?
ELYNOR SMITHWICK: Light is often most apparent in the darkest times, both physically and metaphorically. Whether I’m physically exhausted or at an emotional crossroads, I’m naturally drawn to light, to its pull and its potential for illumination. My intrigue with light is evident throughout, particularly when I drive home at dusk and observe street lamps through trees or passing busy intersections. There's also a moment in my memory where I capture a photograph of a sentimental place, where the light at a particular time of day muted the colours of the sky and mountains in a way that felt both fleeting and profound. Some of my paintings, with their misty light feel like they could dissolve into themselves. When that happens, it feels like I’ve found a delicate balance between presence and absence.
OTOMYS: Each painting offers the viewer a glimpse into a relatable time and place. Does the scale of your miniature paintings achieve this experience of a glimpse?
ELYNOR SMITHWICK: While the works on linen vary in size, I specifically chose to include miniature paintings on aluminium to create a more intimate experience for the viewer. These smaller works act as a kind of portal into a specific time and place, where the viewer feels like an observer rather than a participant, almost like peering through a keyhole. The miniature paintings also offer a strong contrast to the process of painting the larger linen works. Each miniature painting was completed in one sitting, capturing the initial idea as the final outcome, allowing a certain immediacy and spontaneity to a moment 'frozen in time'.
OTOMYS: Can you tell us more about the influence of film stills in your painting?
ELYNOR SMITHWICK: I often sift through personal photo albums looking for images that evoke unspoken emotions. I’m drawn to moments that seem incomplete or unexplainable, and I let my mind and hand fill in the gaps of what can’t be seen. In this exhibition, a mix of my own lived experiences, personal and family photographs intertwine to create a visual narrative, helping me interpret my own story and its connection to the larger story of those who came before me.
