Synethesia is a common occurrence in the works of modern artists today. In the essay, I will be speaking of Marcia Smilack, a reflectionist pohotorgrapher who uses her synesthetic inclinations to display her art. I will be exploring the phenomenon of synesthesia, the practice of reflectionist artwork and Smilack’s brilliance in the field. Appreciation of synesthesia-inspired works heightens the experience of artwork, and in my essay, I will be bringing Smilack’s captivating work to life to illustrate that.
First, synesthesia as defined in the Merriam Webster dictionary:
1: a concomitant sensation; especially : a subjective sensation or image of
a sense (as of color) other than the one (as of sound) being stimulated
2: the condition marked by the experience of such sensations
In other words, synesthesia is an experience of two sensations that work together in a person’s creative imagination or perception. Examples include: people who smell images, see sounds, hear objects. In Smilack’s case, she often sees her pictures as being inspired by a certain piece of music. Once she couples the two artworks, her photographs come to life. Synesthesia is transferrable in some sense. Even though one may not have synesthetic tendencies, it is easy as creative beings for us to enter into that state when someone has already coupled multiple senses for us. By definition, synesthesia is a sensation: anyone can access it, however only some are gifted with it. Much like any artwork, not everyone can create synesthesia within themselves, but everyone can appreciate the artistic wonders it creates. In Figure 1, we can see a very literal depiction of synesthesia. Often people do tests resembling the one in Figure 1 to see if they think synesthetically. The names of colors can we written down in different shades than their names suggest, or numbers may appear in different fonts and sizes. Synesthesia is an amazing phenomenon that enhances the artistic experience, and it is a crucial part to the wonder of Smilack’s work.
Refelctionist artwork is also another very interesting practice that helps make Smilack’s work so captivating. The general principle behind reflectionism in artwork is to reflect something within the workings of a painting, a photograph, a collage, mural, a song, etc. That reflection can be of the artist’s soul, or personality, it can be a reflection of social issues or statements popular at the time of the artwork. Reflectionist artwork acts a figurative mirror into other things through the medium of art. Smilack’s photography however, is not only a reflection of the music she often couples her collections with, but she has also taken the concept of reflectionism to a very literal place: she captures images through reflections (such as on water, in windows and mirrors, etc). It is almost as if she brings another dimension to reflectionist work. Not only does her work reflect her as an identity – as an artist - it also reflects synesthesia in art, as well as presenting itself through literal reflection. It is like a 3-dimensional creation that blows the mind when analyzed. So in reality, reflectionism is within most artwork: an artist is defined by his or her personality, influences, tendencies, and that will almost always be reflected in their artwork. However reflectionism as an art form is actually quite popular. Kathryn Olsen speaks about her work, an example of which is shown in Figure 2: "My artwork reflects aspects of my inner self - especially issues that I'm currently struggling with - conflicts that I'm experiencing, difficult and/or ambivalent emotions. I like to use forms that I find in the natural world and I draw or paint them initially without thought or planning just to see what arises. When my intention becomes clear to me, I work on the final piece” (Kathryn Olsen) . Therefore, reflectionist works are not new to the artistic world. However, what is tremendous about Smilack’s approach is that her medium is digital: photography. She uses multi-media to present her music collaborations. In all, Smilack’s Reflectionist style is very modern. It moves today’s generation because they can relate to the time it appears in. And with further analysis, after being captured by the familiarity of photograph and sound, the true nature and brilliance behind her work is evident.
Marcia Smilack was presented to me in Introduction to Arts and Culture class, when we were exploring synesthesia and modern art forms. When being told that I had to write an essay on photography, I felt inclined to write about Smilack’s work because I felt she brought a new dimension to photographic work. When looking purely at style, technique and form in photography, Smilack’s brilliant renditions of certain landmarks and picturesque landscapes through reflections are fantastic. Some photographers cannot even capture the colors and contrasts she seems to capture head on. So on a photographic basis, Smilack has no lack of talent. Her use of reflections opens up a new dimension to the viewer. It is almost a trance-like sensation that envelopes the on looking spectators, as the image begins to move and dance through the ripples of the water. In Figure 3, you are transported to a dreamlike feel, of a place with vibrant colors and no blemishes. The ripples of the water remove all mistakes and faults, making the image seem too good to be true, surreal and fantastical. Her use of reflection also makes you feel disoriented, like you make be upside-down when viewing her photographs, or on the wrong side of a mirror perhaps. Her composition of colors and shadows, light and dark is exquisite. The detail is unfathomable for a “mere reflection”. Her use of architecture is also brilliant. It brings the viewer to a new world each time, a place where architecture is a marvel. As a photographer alone, Smilack has a very unique, distinct and well-developed style about her, which is commendable on its own.
Smilack’s talent reaches further than photographic brilliance however. The full experience to be had with Smilack includes her analysis of her photographs. This is where the synesthesia comes into play. Not only that, but Smilack has a very potent and creative eye. Her titles are well thought-out and pertain to certain, almost unnoticeable aspects of her own work. For example, in Figure 4, Smilack was focusing on personification in her photographs. Her analysis of the image was astounding, and once the description is read, the photograph becomes astounding.
In reflection, I watched the straight lines of the cottage architecture bend from the subtle movement of the water. This sent me into a trancelike state that soon dissolved my boundaries. I continued to watch. When a design emerged that matched my feelings, I shot the picture. When I looked at the image later, I noticed a cartoonlike girl in the white on the right. She is standing sideways looking in the window. I wondered if she could be a picture of me peering into my own unconscious. When I realized the "girl" is also the door, I named it the "House of Consciousness." (Smilack)
Once I saw her analysis, this photograph was not only technically full of wonders, but the personification became quite evident, and the picture took on a whole new dimension. Smilack has the perception of a well seasoned thinker. She knows that her mind’s eye is guided by creativity, but she also knows how to harness her thought process to share it with the views, making her work so fantastic.
Furthermore, when Smilack introduces her synesthetic views or inspirations for a photograph, the marvel of her work becomes audible. In Figure 5, Smilack describes her work as being the visual depiction of cello music. When studying the photograph after reader her intent, you can hear the cello playing a soft melody as you take in the subtle ripples of the water, the hues of arrange and yellow interlaced in the reflection of the sky. You can see what may be the mast of a sail boat, or telephone poles, but now they resemble a cellists’ bow or the strings of the hauntingly beautiful instrument. The wave of the water’s surface gives you a sensation in the pit of your stomach as if the bass notes of the cello are drifting around you; the very sound waves a visually depicted in the photograph. When I see this picture I become entranced and very subdued, hearing the sound of the cello engulf my senses and transport me elsewhere, even for just a moment. That is the power of synesthesia. I do not have a gift for synesthetic influences. I can embrace synesthetic work, and sometimes I have the tendencies of a synesthese. However, Smilack’s conviction and precision of her synesthetic work brings me to a place where I can be totally immersed in sound and image. That is a gift, both for Smilack and for her audience.
Smilack brings photography to a new level. As previously mentioned, Smilack has created 3D photography in my opinion. You have the technical style which is unque and well-developed, appealing to photograph enthusiasts of the right sort. Next you have synesthetic connotations, which transport willing viewers to the 2nd dimension of Smilack’s work. And thirdly, you have the basis of reflectioninst work: the reflection of something quite real in artwork that is often surreal and fantastical. In Smilack’s work, this aspect not only encompasses her passion, her personality, her identity, but it reflects world wonders, beauty in simplicity, and most importantly, it reflects the viewers who can enter in. Her literal reflection work acts as a mirror once a person has reached that third dimension. There is something brilliant in the realization that someone has successfully transported you through artwork. It is one thing to be captivated by art, it is another to be captured by it.
In short, Smilack has the true makings of an artist. She has combined sound and sight with literal and figurative reflectionism to create what I see as 3D imagery, without all the fancy equipment and frustrating 3D glasses! Her work has the roots in personal experience, which then blooms into fantastic images, grows to a synesthetic height that reels the views in and then finishes at the beginning: personal experience – only this time, it becomes the on-looker’s experience. It is almost as if Smilack creates a journey in each one of her photographs and musical imagery compositions. Her words are few but precise, and they guide you through the process of her imagination, and realize the sensations she had when forming her masterpieces. Smilack underlines the important of synesthesia in the artistic world, as well as revolutionizes the way reflectionist art works. She is truly a gem in the world of photography, and a mastermind artist, no doubt.
Works Cited
Marcia Smilack, Reflectionist. N.p. N.d. Web. 17 Nov. 2011
Available: http://marciasmilack.com/index.php
Merriam-Webster Dictionary. Encyclopedia Britannica Co. N.d. Web. 17 Nov. 2011.
The Reflectionist. N.p. N.d. Web. 17 Nov. 2011
Available: http://reflectionist.org/dialogues.html
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