Inside the Horizon was developed during an artist residency in Italy and draws from the geometric formations of the Tuscan landscape.

Beginning with a sketch of the surrounding fields, Smith approached the land as a series of contours and divisions. Through a process of rotation, inversion, and expansion, the drawing was translated into three dimensions. Imagining the fields as negative space, she suspended their absence in the sky, creating a form shaped as much by what is missing as by what is visualised.

Through this process, Smith began to consider the landscape not only as a physical terrain, but as a data centre. The land carries traces of geological change and human activity, holding histories beneath its surface that often remain unseen.

Inside the Horizon reflects on landscape as both form and archive, where material and time converge.

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This is accompanied by an editioned print that functions as its “DNA blueprint”, generated through the artist’s sculpting and scanning process. Printed as a fine art Giclée on Hahnemühle Photo Rag, one of the most archival papers available, the print operates both as documentation and as an independent artwork, preserving the sculpture’s essence in two-dimensional form.

For Smith, the print is an essential extension of the sculpture. Through digital processing, the form moves between dimensions, existing as both physical presence and flattened image. This pairing reflects her ongoing inquiry into how identity now operates across physical and digital realms, where presence is increasingly distributed, and a digital counterpart has become integral to how objects and individuals are seen and understood.

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