Steel isn’t properly connected to the art history of the 29’th century: the strength, the construction, the deconstruction, the progress overall. When you enter the Farsten Greve gallery, it is to discover a hight quality tribute to David Smith, draftsman and sculptor that has grown during the industrial Revolution, the first to use it as a mane medial of expression.
After his studies, the artist briefly worked in an augomobile factory where he would learn how to weld before joining the Art Students League. IT is Picasso, Mondiran and kavinsky that will inspire his work. Throughout the exhibit, you discover how much his drawings are primordial in his work; he was, by the way, a painter before becoming a sculptor. Painting is the support of his ideas, of his intuitions and all his life he will draw sketches and make inspirational notebooks.
You discover linear representations recalling the gestualism ”automatic” of the abstract expressionism or pieces that remind us of certain pieces by Pollock. Gouahces, oils, industrial enamels passing by the tempera, David Smith does not stop in his experimentation. He will even invent the egg ink: a mix between the yolk sac and Chinese ink. The artist is inspired by Classical art like Constructivism, cubism, surrealism or tribal art to realise his pieces mixing brutality and refinement.
In the middle of his paintings, a sculpture from the 50’s makes it obvious how much both supports of creation where complementary to his Artist carrier . David Smith practices his experimentations in his ”atelier” in Brooklyn, nearby a small shop that was specialised welding. He had for habit to draw on the floor and then to put metallic objects onto it. If the drawings weren’t always a preparation to his metallic realisations, they permitted to extend his artistic though in an always stronger way. This artistic approach is going to inspire a while generation of artists in the way of considering the modernist sculpture in space.