Last summer, at the height of COVID, Adam Parker Smith hopped into his Mazda hatchback with his partner and two children, and left Brooklyn for a hideout in Swan Lake, New York. There, the 42-year-old artist has spent the past year preparing his upcoming show of new works at the downtown New York gallery.
Smith admits that there are many ways to interpret his work—the overt pop-cultural references, the earnestness that stems from all of our programmed childhoods, or the sheer material ingenuity of inventing new tools and methods for each wacky, gravity-defying piece. But there seems to be something more personal at play, a grief real or imagined, rooted perhaps in family or self.
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