Slow Form

Italian photographer Gabriele Basilico explained that his aim was to construct images that incited a slow- paced gaze. Sam Smith employs a similar strategy. Focusing on the cinematic apparatus and imagination, Smith produces works that expand the concept of film by creating multi-layered, multi-temporal experiences of the image. The experience is one of traversing different realities.

In Smith’s work, and particularly in this exhibition, there is an ingenious interaction, spillage even, between cinema, sculpture and the architectural space. Cinema takes a sculptural turn and sculpture takes a cine- matic turn in an intimate relationship with the exhibition space.

Not only cinema is presented as a slow form, but also art becomes the space for deceleration, for a slow- paced, high-intensity experience of time and image. Smith provokes a tension between the apparatus, the machine and its form and thus presents an expansive form-knowledge experience.