Exploring Colour and Movement: In Conversation with Sam Smyth

In this exclusive Q&A with Maddox Artistic Director Maeve Doyle, Sam Smyth opens up about the inspirations, techniques, and philosophies that shape his practice. From his early influences as the son of a paper engineer to his innovative ventures into three-dimensional and kinetic forms, Smyth takes us on a journey through his creative process and shares his vision for the future of his art.

Maeve Doyle: For those who may not be familiar with your work, how would you describe yourself as an artist and your creative practice?

Sam Smyth: I’m a painter, primarily. My practice is grounded in creating visually dynamic, geometric compositions that use color, masking, and layering. While painting is my primary medium, I’ve also experimented with other forms of expression, like murals and graphic design.

My work draws from modernist traditions, using precise techniques to create pieces that engage the viewer with the opticality and physicality of colour and pigment. The goal is to evoke movement, depth, and energy and to encourage a mindful encounter with the painting.

Maeve Doyle: You’ve mentioned that your father, a paper engineer, had a strong influence on your understanding of form and structure. Can you share how those early experiences shaped your artistic journey?

Sam Smyth: A lot of people aren’t familiar with the term paper engineering which is the practice of Pop-Up book making. Pop-Up books are fun and whimsical but making them involves mathematics, geometry, and a methodical approach to creativity. Growing up, I was exposed to that kind of approach to artmaking via my father who was a supportive and guiding presence.

As a child, my fathers studio felt like a magical, creative space and being exposed to that kind of working life has definitely inspired me and fostered an inclination towards artmaking and the joy of creating something tangible and beautiful.

Sam Smyth's works in Moving Through Colours exhibition at Berkely Street

Maeve Doyle: Your work is often praised for its meticulous geometric precision and optical effects. How do you approach the process of translating abstract ideas into these intricate forms?

Sam Smyth: It’s a mix of discovery and refinement. Often, an idea will come from something I stumble upon—maybe a quality in a color interaction or a geometric form that sparks curiosity. From there, I begin a process of honing and experimenting with those qualities until they translate into a coherent painting. Once I begin on the canvas, it becomes very process-driven: layering, masking, and painting in a way that’s almost akin to printmaking.

The goal is to create a confident and harmonious painting that also contains pockets of optical sensation —vibrations, shimmers, and subtle interactions that give the work a sense of movement and energy.

Maeve Doyle: Color plays such a significant role in your work, from your bold palettes to your optical experiments. How do you approach color theory, and how does it influence the emotional tone of your pieces?

Sam Smyth: My approach to working with colour is intuitive but also informed by theory. Particularly Joseph Albers’ work on color relativity—the principle that colors change perceptually depending on what surrounds them.

For example, to make a blue appear luminous, you might dull or darken the surrounding tones to heighten its vibrancy. The interaction of colors can evoke energy, harmony, or tension, depending on the combinations.

What fascinates me most is the way these optical effects engage the viewer. Up close, certain interactions can be visually jolting, like the colors are vibrating or shimmering. From a distance, the colors blend in the eye, creating a more unified impression. It’s a dynamic experience that evolves as you interact with the piece.

Maeve Doyle: Recently, you’ve started experimenting with three-dimensional forms. What inspired this shift, and how does it affect your overall artistic vision?

Sam Smyth: I work a lot with geometric form in my paintings, so moving into three dimensional geometry felt like a natural evolution and has opened new avenues for exploration. The 3D pieces are essentially faceted canvases—geometric planes covered in a laminate of canvas that’s stained and sewn together.

One thing I find exciting is the different way these forms interact with color. The surfaces are more complex and worked than a flat canvas and I think this enables them to support a more minimal and monochromatic expression of colour than my 2D work. They also react to light with more complexity than a flat surface creating shifting shadows and highlights depending on different viewing angles and lighting conditions.

Maeve Doyle: You’ve lived and traveled in various places, including New Zealand and Vietnam. How have these experiences shaped your visual language?

Sam Smyth: Each place has left its mark on me in different ways. In New Zealand, I was immersed in nature and spent a lot of time camping and in the outdoors, which was a grounding experience. I also worked with a mosaic artist and stayed with a botanist who practiced Zen. That time deepened my interest in mindfulness and how it connects to abstraction.

In Vietnam, I painted on a rooftop terrace and spent time in enjoyable solitude. That period was introspective and allowed me to explore my relationship with color and form in a more personal way. Traveling and living in different cultures has broadened my perspective and introduced new rhythms and moods into my work.

Maeve Doyle: Your paintings often evoke meditative moods and a sense of visual movement. How do you want viewers to engage with your work?

Sam Smyth: I want my work to create a mindful, sensory experience. Up close, the intricate details and optical effects intend to draw in and visually envelop the viewer. From a distance, the work shifts offering a different perspective.

Ultimately, I hope my paintings encourage a moment of pause. By focusing on color and perception, I want viewers to break away from their everyday patterns of thought and experience something immediate.

Maeve Doyle: What’s next for you? Are there any upcoming projects or directions you’re excited about?

Sam Smyth: I’m currently preparing for a solo show early next year, which I’m incredibly excited about. I’m also experimenting with kinetic art—combining painting, sculpture, and movement.

There’s a lot I want to explore and I’m excited to see where these new directions take me.

Sam Smyth, a rising talent in contemporary art, is known for his mesmerising exploration of geometry, colour theory, and abstraction. As a featured artist in Maddox Gallery’s Moving Through Colour exhibition (21st November 2024 – January 2025), Smyth’s work embodies the spirit of the show, celebrating the dynamic interplay of colour and movement.