Marina Smith's works are perceived with a sense of the unexpected and ambiguous. It’s an independent and original form of the creative, a hybrid of modern abstract techniques such as ‘fluid-art’ and ‘dirty pour’, suggesting the free flow of liquid acrylic paints onto the canvas surface. Marina began her career as a photographer, before introduction to acrylic led to a transition to easel painting. It is evident that her creative impulse lies in a special feel for structural principles. Manipulation of the proportions of the internal space of the picture to the external landscape, and creation of texture in the paint can considered to be the artist's main techniques.

Marina depicts her photography as a spontaneous flow of images that escapes from mental control, created without a script, through the appearance of the material itself. Rather than a narrator of fascinating stories, she is primarily a painter. Most of her photographs were taken with vintage cameras using colour prisms and without subsequent retouching. The old masters of painting did not depict objects, but only the spaces between them. That is, certain spatial clots that fluctuate under the influence of light and shadow. Perhaps something similar can be said about Marina's method. Give away the objective world at the mercy of photography, she turns to the search for a parallel, non-objective reality, spontaneously applying splashes of acrylic paint to the shots.

Multi-colored whimsical spots spread out on the matte surface of the photo, like an oil film that hides either the cosmic abyss or the darkness of the fluid surface. Marina refuses to just ‘see’ — to be an observer of the factual. It is as if she tears apart the fabric of daily existence, exposing the pre-experienced primordial outpourings of elemental chaos, beyond reason and culture. She creates her own unique picture of the world, shifting the focus of visual perception from the ordinary to the imaginary, but at the same time, to the absolute, primary and incomprehensible. Probably, the dreamlike reality of Marina Smith borders on the mystical in many ways, bears magic and at the same time asserts the optimal balance of internal and external, high and low, man and the world.

Andrey Epishin
Ph.D. in History of Arts
member of the Union of artists of Russia, member of the AIS (Association of art Critics)
Chief Editor of ‘Community Arts magazine’