Shawn Smith was born in 1972 in Dallas, TX where he attended Arts Magnet High School and Brookhaven College before graduating from Washington University in St. Louis, MO with a BFA in Printmaking in 1995. Smith received his MFA in Sculpture from the California College of the Arts in San Francisco in 2005. He has received artist-in-residencies from the Kala Art Institute in Berkeley, CA and the Cite Internationale des Arts in Paris, France. In 1996, Smith was a recipient of the Clare Hart DeGolyer grant from the Dallas Museum of Art. Smith’s work has been exhibited at Hå Gamle Prestegard, National Art and Culture Center of Norway, Gallery Mark Hachem (Paris, France), Kuntsi Museum of Modern Art, (Vaasa, Finland), and throughout the United States including the Austin Museum of Art, Arthouse at the Jones Center (Austin), Galveston Art Center, Yerba Buena Center for the Arts (San Francisco), Southern Exposure (San Francisco), Grand Rapids Art Museum, Oakland Arts Museum, Berkeley Art Center, Richmond Art Center, di Rosa Art and Nature Preserve (Napa), Dean Lesher Center for the Arts (California), Holter Museum of Art (Montana), Northwest Art Center (North Dakota), Lawndale Art Center (Houston), Wichita Falls Museum of Art (Texas), the Armory Art Center (Florida), Scion Installation Center (Los Angeles), the Grace Museum (Abilene, TX), Artisphere (Arlington, VA), and the McKinney Avenue Contemporary (Dallas), among others.
In 2006, Smith was commissioned to create Doppel Fountain, a monumental public sculpture in San Francisco, CA. In 2017, he was commissioned to create Convergence, consisting of 100 sculptures for the new NYPL Westchester Square Library in the Bronx, for which he received a 2018 NYC Excellence in Design Award from the New York Public Design Commission. In July 2019, he installed Burning Bright, a 71 foot long powder-coated steel panther at Fire Station 42 in Fort Worth, Texas. Also in 2019, he created Tower, an 18 foot tall pixelated giraffe commissioned by the US Department of State for their Art in Embassies Program to be installed in Niamey, Niger.
In addition to his public art works, Smith has received commissions to create works for many private and corporate clients including Facebook, Microsoft, Google, Adobe, Fidelity Investments, Boston Consulting Group, W Hotels, Frost Bank, and Wired Magazine-UK, among others. His work is in the permanent collection at the Smithsonian American Art Museum's Renwick Gallery in Washington DC, the National Museum of Wildlife Art in Jackson Hole, Wyoming, the Explora Science Museum in Albuquerque, NM, and the Nasher Sculpture Center in Dallas.
My work investigates the slippery intersection between the digital world and reality. Specifically, I am interested in how we experience nature through technology. We are currently living in a digital age where we predominantly experience the natural world through our phones, computers, and television screens. This distance from the reality of nature distorts our perspective and creates a disconnect. As species decline and fade into memory, so many animals and organisms now have a stronger presence in the digital world than in the natural world.
I use systems of nature as a point of departure to create sculptural work. With my “Re-things”, I create three-dimensional sculptural representations of two-dimensional images of nature I find online. I build my objects pixel by pixel in an overtly laborious process in direct contrast to the slipperiness and speed of the digital world. I am interested in how each pixel plays an important role in the identity of the object, the same way each cell plays a crucial role in the identity of an organism. Through this process of pixelation, details become distilled, distorted, or deleted.
Currently, I am exploring extinction, evolution, animal lore, mimicry, and the collision of digital and biological systems to pose the question: “What is nature becoming?”
"In the game of life and evolution there are three players at the table: human beings, nature, and machines. I am firmly on the side of nature. But nature, I suspect, is on the side of the machines." - George Dyson