In Silence

Gathering
2016
Acrylic and oil on transcluscent Plexiglas,
115” x 144” x 5”

An installation of over 2,000 plexiglas forms, it explores the ocean as the
engine that drives the food chain. Research now reveals that due to global
warming the oceans are experiencing a 40% drop in plankton. The furnace-like
central mass of this swirling composition teams with planktonic forms glowing with
intense reds and oranges. Under the encircling translucent waves surrounding
this congregation, predatory forms appear to be herding the interior shapes for
harvest — emphasizing how the predator/prey relationship fuels life. institutions
that threaten our silent, bountiful planet.

In Silence
2014
Acrylic on transcluscent Plexiglas and wood
98” x 72” x 36”

In Silence suggests a moment of consecration: a hand-carved wooden bowl,
placed on a circular dark plexiglas floor structure resembling ice, collects the
melting waters from the rotating “ice clad” hanging vessels. The frozen waters of
winter promise new life. Hundreds of hand cut units of plexiglas were chemically
bonded to create the three suspended nest like forms. As glass is easily broken,
this installation reminds us of the fragility of life on our planet and of the importance
of water to its survival.

Surge
2014
Acrylic on translucent Plexiglas
93” x 82” x 5”

The installation Surge stems from the symbiotic relationship between microscopic
fungi and plant roots; some fungi, for example, aid root systems to harness 100
times more water. Surge references this relationship with translucent strands that
spiral out and sprawl across the wall, paying homage to our vital forests and their
vast network of fungi, roots and canopy.

Passage
2014
Etched translucent Plexiglas, mylar, salt
20” x 72” x 35”

A membranous like vessel, suggests notions of airy life forms with limited
locomotion and provides a metaphor for the precariousness of all existence.
Etched with a variety of tools, the entire surface of the plexiglas references the
veined patterns often evident in translucent organisms such as one sees in jellyfish
and nudibranchs. The tissue like quality of the alternating sanded and clear
plexiglas allows light to pass through and cast shadows that mirror the etched
veining. White sea salt is applied in drifts to the interior of this form and creates a
glowing appearance.

In Motion
2016
Acrylic on translucent Plexiglas
144” x 115” x 6”

In Motion explores two themes found throughout nature: One theme references
the ability of an organism’s locomotion in it’s natural habitat relative to the
uncontrollable forces that effect it’s movement such as air and water currents.
The other theme explores the predator/prey relationship and in particular that of
invasive species. The installation is created with over 200 hand cut, shaped and
painted recycled units of plexiglas. The juxtaposition of the larger and smaller
forms is deliberately ambiguous; the relationship between the two can either be
symbiotic or predatory.

Parallels of Perception
1999
Acrylic on translucent Plexiglas
53” x 53”

Inspired by the “Big Bang” theory, globe flowers, fireworks and geodes
to name just a few, Parallels of Perception examines the repetition of a natural
pattern found abundantly on earth and in the universe. Wanting to create the
illusion of deep space, I cut this shaped plexiglas form and painted it almost
entirely on the reverse side. The front side retains its glossy reflective appearance
and the illusion of depth is greatly accentuated.

Cloud Forest Lenses
2017
Oil paint,oil bar, acrylic, and prismacolor on
translucent Plexiglas
108” x 96” x 4”

The earth has so many diverse forests of staggering beauty and I
have tried throughout my life to experience them first hand by visiting
and hiking in them. Last year I had an opportunity to go to several
of Costa Rica’s delicate Cloud Forests famous for their biodiversity.
Climate change is affecting these fragile ecosystems and I wanted to create
artwork and installations that might add to the dialogue and create a greater
awareness and appreciation of these impacted and delicate environments.
These series of circular paintings on plexiglas focus on the misty and often
dreamy quality that one finds in the shifting clouds and plant life in the canopy.

Air Roots
2017
Oil paint, oil bar, acrylic, and prismacolor on
translucent Plexiglas,
108” x 96” x 4”

Installed in juxtaposition to the circular Cloud Forests Lenses, Air Roots references

the epiphytes and giant trees in the canopy that drop their long roots to the
forest floor. Composed of over 200 hand cut, shaped, painted and chemically
bonded units of recycled plexiglas, this artwork draws its inspiration from these
roots systems that are one of the most distinguishing characteristics of the Cloud Forest.

Speechless
2017
Acrylic on translucent Plexiglas
72” x 96” x 60”

Inspired by coral reefs threatened by global warming, Speechless embodies
countless hand cut units of plexiglas that are thermally shaped, chemically
bonded and painted. Suspended from the ceiling this artwork branches out
and engages the viewer to experience this installation from many vantage points.
Parts of the structure are left intentionally uncolored to heighten an awareness
of coral bleaching. This is a condition that occurs when water temperatures rise,
causing zooxanthellae, a vital photosynthetic algae, to leave the tissue of the
corals. If the coral polyps go too long without zooxanthellae, the coral reefs die.
In turn the reef’s ecosystems will become adversely impacted and biodiversity will
suffer. Speechless underscores this precarious state of the coral reefs by using
translucent plexiglas to create fragile glass like forms that seem easily shattered
and function as a metaphor for their acute vulnerability.

The installations and artworks of In Silence focus on the vulnerability, beauty,
strength, and powerlessness of our environment—specifically concerning the
threats posed to countless life forms and ecosystems at the hands of human
activity. Focusing on the fundamental aspects of life as we know it, Smithers-
Crump’s translucent works address the importance of water for all life forms
on earth, offering an alluring, yet critical lens into our shared reliance on vital
natural resources. Mirroring the fragility of our natural environment as well as
the aesthetic nature of water in various states,

Smithers-Crump uses Plexiglas as the primary material in her works. This
extremely versatile material functions as a substrate for painting, drawing,
and mark making, but also maintains a variety of sculptural characteristics. In
her practice, Smithers-Crump has cut it into shapes, bent it using heat, etched
the surface, and even chemically fused various pieces together to create
larger, site-specific works. She hopes that her works contribute to an ongoing
dialogue about the many conditions, attitudes, and institutions that threaten
our silent, bountiful planet.

Margaret Smithers-Crump is a Canadian artist based in Houston, Texas. She
received her BFA in Painting from Miami University, Oxford, Ohio in 1973. For the
last twenty years, Smithers-Crump has been exploring the creative potential of
Plexiglas, in both painting and installations. Smithers-Crump has had a series of

solo and group exhibitions throughout Texas
and the United States including her recent
one person exhibitions at the Pearl Fincher
Museum of Fine Arts, Houston, TX, Galveston
Art Center, Galveston,TX; Imperial Center for
the Arts and Sciences, Rocky Mount, NC;
Penn College of Technology - Penn State,
Williamsport, PA; and Lawndale Art Center,
Houston,TX. Additionally, she was one of eight
artists selected from across North America
for a solo exhibition at Manifest Gallery in
Cincinnati, OH, in 2016. Her one person
exhibition, “In Silence” was also on view at the
Beeville Art Museum in Texas on April of 2017.

LSC-Kingwood Fine Art Gallery
20000 Kingwood Drive

Kingwood, TX 77339-3801
Phone 281.312.1534
LoneStar.edu/Kingwood

Editorial Design: Veronica Valarino