An Interview With Melbourne Artist Lyn Smith

Recently we were asked to turn what seemed to be a simple shape, for Melbourne artist Lynette Smith. To our surprise the physical form of this modest cone had some rather intriguing qualities.

The dimensions of the form had perfect symmetry. Lyn calculated the height of the tip of the cone at exactly half the diameter of the base. As a two dimensional drawing this 550mm x 275mm figure appeared to be no more than a simple triangle. As a three dimensional shape, its size and beauty were astonishing.

This solid timber, inanimate cone had an elemental, positive energy about it. The combined qualities of natural timber and perfect symmetry of the shape created a sense of timelessness, something universal and true.

The cone had a tranquil magnetism that was quite irresistible. Its energy was both alluring and fascinating but could only really be understood in its presence.  

We caught up with Lyn to see the finished piece, now meticulously painted by hand. In this interview Lyn willingly shares some photos and the following insights into her work.

Q. Where did the idea for the cone shape come from?

There is a set of numbers I have been using to construct some drawings which you can see on my website.

I wanted to find a way to use the same numbers on a three-dimensional form. I tried a few different shapes and in the end the cone leapt out. It is a very pure shape. It evokes ideal form, a philosophical notion that can never be realised in a physical form. So it is both a very physical thing, showing its form and mass, and a pointer to that ideal, which is unrealisable.

Q. Why did you choose a painted finish?

I painted it with those bands of colour because I was interested in what the eye would do with 'same' relationships that were in the drawings. I used egg tempera, which is a very old and elementary (but very demanding!) technique because I wanted to have that pure, elementary quality of the form come through with the paint as well.

Q. Why did you choose timber?

Yes, wood. I never considered another material to be honest. In fact, what I thought of first was that I needed a turner--it was the rotation I was after. Now that it is done though, I think it can't be made of any other material, at the very least for practical reasons. Initially I had imagined a solid piece of wood (even though I thought it would be almost impossible to get a block like that), but in the end I like the fact that Steve had to construct a block to work from.

Q. Has the piece got a title?

No title. It's a test piece really and it has helped me to think about what this can be. At the beginning I actually didn't want to paint it because the cone was just so beautiful—so I think I have at least a couple of strands of ideas to play out with this.

Q. Is this piece for sale?

I don't think I could sell it at this stage but my website displays the things which I am happy to sell and show.

Lynette Smith is an independent fine art professional based in Melbourne. If you would like more information about Lyn and her work please View Lyn’s profile.