Following artist residencies in Latvia (the birth place of Mark Rothko) and Oman, Dillwyn Smith began a series of works that eschew the canvas and replace it with transparent fabric that reveals not only light and colour but the supporting structure of the stretcher beneath. He says: "Across the years I became excited that colour within fabric, as opposed to on fabric, refracts light and interacts with the eye differently to a painted surface'. So these are not paintings, but rather, painterly fabric pieces. Or perhaps they might be called fabric paintings".
Carrying on this exploration of light and transparency for Cure3, Smith has embraced the Perspex space to produce Be a Lantern in the Dark. Made with fabrics sourced in markets as far apart as Oman and London, the artist has transformed the cube into a polyptych, sitting on top of a cardboard mirror. The stretcher has been blowtorched, then waxed, and the mirror adds a playful element while it also illuminates the work.
"Smith explores painterly and sculptural concerns in unconventional and inventive ways through the materiality of his forms. Translucency versus opacity, reflected light and reflected colour, optical sensations, dematerialisation, ephemerality. So much there with such economy of means. Some of the works are designed to change colour with the action of light or degrade over time. The vulnerability and preciousness of life becomes the subject: we are all hanging by a thread." - Marco Livingstone
Here, in the context of Cure3, Be a Lantern in the Dark, provides a message of hope, friendship and positivity.