Yvette Kaiser Smith uses sequences from the numbers pi and e, grids, and repetition of simple geometric shapes as tools in devising systems for mapping and visualizing numerical values by which she creates wall-based geometric abstractions in crocheted fiberglass, laser-cut acrylic, and mixed media.
Currently a resident of Chicago, Yvette Kaiser Smith was born in Communist occupied Prague, Czechoslovakia in 1958, and immigrated with family to Dallas, Texas in 1969. Her 1990 BFA from Southern Methodist University focused on sculpture and photography. Since receiving an MFA in Sculpture from University of Chicago in 1994, Yvette has exhibited extensively at regional museums, art centers, and university galleries throughout the United States. Exhibitions abroad include U.S. Embassies in Moscow, Ankara, and Abuja; National Art Museum of China in Beijing; alternative galleries in London, Rome, Berlin, Jena Germany, and Veliko Turnovo Bulgaria; also Bridges Mathematical Art Exhibitions in Linz, Austria and Stockholm, Sweden. In 2005 she began working with art consulting firms, galleries, and individual clients to create site-specific commissions which include Facebook Chicago, University of Illinois Urbana Champaign, San Diego Manchester Hyatt, Eaton Corporation in Cleveland, and Rosewood Hotel Adu Dhabi. Past residencies include Ragdale in Lake Forest, Illinois and ARV.International in Vishovgrad, Bulgaria.
Brief Artist Statement
I am an artist who uses numbers. I create geometric abstractions by utilizing grids and simple geometric shapes as tools in inventing systems for visualizing numerical values of sequences derived from the numbers pi and e. Majority of my past works are wall-based, geometric, crocheted fiberglass constructions. In 2016, I was introduced to a laser cutter and have since focused on developing a body of wall-based works, using laser-cut acrylic sheets separated by vinyl spacers.
I spent over 20 years creating large works, fueled by identity narratives, by crocheting fiberglass that was formed by adding polyester resin, a labor-intensive process that engaged my hands at every stage. The laser cut work has almost completely removed my hand or the sense of my hand from the final product. All the 2016, 2017, and 2018 work with acrylic sheet was designed in Photoshop, plotted in Illustrator, was created almost entirely on a laser cutter, and was purely driven by the math. I am now beginning to explore different ways to directly engage the material with my hand, to make my hand visible in the work, and bring identity dialogues back into the work.
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