Born, Kiki Smith

Born

Kiki Smith

Born- Deer Birth
2002
Bronze, 39 x 101 x 24 inches
Edition of 3
Photo by Kerry Ryan McFate

Courtesy PaceWildenstein, New York
www.pacewildenstein.com

  

     Kiki Smith (American, born Germany, 1954) is among the most significant artists of her generation. Known primarily as a sculptor, she has also devoted herself to printmaking, which she considers an equally vital part of her work. The exhibition and accompanying catalogue, Kiki Smith: Prints, Books, and Things (2003), showcase the scope of Smith’s printed art and present it thematically, focusing on such topics as anatomy, self-portraiture, nature, and female iconography. This interactive Web site is similarly arranged and fosters a rich understanding of her innovative body of printed art, illustrating over 135 works in more than 50 comparative groupings. In the “Process” section, Smith’s creative thinking is explored through two series of evolutionary printed proofs and through video footage of the artist making prints. 

     This is a sculpture by Kiki Smith called Born. She is known for creating shocking and provocative art, and this sculpture demonstrates the reasons for this reputation. In this work, a small deer gives birth to a mature, life-sized woman. I find the idealized forms modeled in the classical bronze to be ironic. Smith uses the traditional style and material of sculpture to depict extremely untraditional subject matter. In some cultures, the deer is symbolic of renewal or rebirth. Smith reveals nature and the connection between humans and animals. 

      Kiki Smith once stated that ninety-nine percent of her work is psychological, which opens it up to many possible interpretations. She has commented, “I always liked the idea of making things that are really open, that everybody can come to with their own ideas and responses.” Here, a relatively small deer, which does not look the least bit concerned, gives birth to a fully grown woman. The combination of woman and deer, along with the idealized, classical style of both figures, evokes Diana, the ancient Roman goddess of the hunt, who is often depicted accompanied by a deer. Deer also feature prominently in the spiritual beliefs of a number of Native American cultures, reflecting the importance of our ties to the natural world. This theme is very important to Smith, who once stated, “The fate of humankind is intimately interconnected with the health of the environment.” If we destroy the environment, symbolized in this work by the deer, we, too, will cease to exist. Smith is not trying to teach a specific lesson: “I’m not trying to make didactic work that has literal interpretations. . . . I try to be as vague as possible! I want things to be open. I don’t want to tell people how to think.”

      After researching Smith's work, I've learned that she prefers the concepts of her art be open to interpretation by the viewer. The composition and placement of the subjects in the sculture give the work movement. Naturally, we read from left to right and this picture of the sculpture reads from left to right and high to low. The way the light plays off the bronze gives the monotone sculpture monochromatic hues. The life size scale of the deer and woman helps the viewer relate to the subject.
      Although to some this image may be disturbing, I think it is kind of beautiful. I think that the story relates to the relationship between humans and animals, how similar we all are. I feel that it could also speak of the reincarnation of humans into other earth creatures. I love that this piece can be interpreted by different people, each in their own way.