CARTER SMITH

STIRRING THE SOUL

CAROLYN L.E. BENESH
Again and again, whether coherently linear or lyrically circular, artist Carter Smith's statements resound like a drumbeat. Nearly exhaustive in their intensity, his themes-connection, energy, creativity-pour forth in robustly passionate missives. His very soul is suffused with the messianic imperative of driving home the messages, one after another. In low tones of calming warmth, and without much of a preamble, Smith begins an extensive soliloquy on life, shibori and work; he has been waiting a long time to put forth his beliefs, and there is no staving the flow.

He started learning shibori from his mother over thirty-two years ago. "Then it was called tie-dyeing," he says. "I tried doing it a couple of times, in the same way as everyone else, then all of a sudden something took hold and I became so excited about the process. I embraced a few techniques, perfecting and treating them in a manner similar to a mechanic. I would look at a piece and admire just how technically right it was.

"Only much later, after years of working, did Smith realize that his shibori pieces were being smothered by his need for perfection. "It hit me," he

KIMONO of double georgette, multicolor, discharge/injection dye shibori. Model: Nicole. Photograph: Carolyn Ross.
remembers, "that what I was really doing was killing the spirit and the soul of my intention. Our work as artists is to explore and to be excited by that exploration. When we do that, the energy of creating an idea, concept or a new piece takes over, and that energy becomes imbued in that piece; it becomes part of it."
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