In the vibrant world of contemporary art, there are few who blend abstraction and figuration as seamlessly as Geoffrey Todd Smith. Known for his intricate gouache and ink portraits, the Chicago-based artist explores the space between geometry and human likeness, creating works that are as enigmatic as they are mesmerizing. His latest series, which combines the structural clarity of geometry with the fluid ambiguity of facial forms, challenges viewers to reconsider what constitutes a portrait—and how we perceive the interplay between abstraction and the human figure.
Smith’s art isn’t easily defined. At first glance, his pieces appear as a burst of color and shape—symmetrical, geometric structures that seem to dance across the paper. Vibrant spheres, interlocked in precise grids, spill outward, creating complex, energetic compositions. Yet, within these abstract patterns, Smith embeds more than mere decoration. Subtle, almost hidden faces emerge from the chaos of form, as though peering out from behind a veil of colorful geometry. Eyes, ears, noses, and mouths appear in unexpected places, their contours suggested by the surrounding shapes but never fully defined. These faces, or perhaps more accurately, these evolving forms, elude the viewer’s grasp, refusing to be pinned down to any single interpretation.
The figures in Smith’s works are not the traditional, static portraits we might expect, but rather shifting, evolving entities. As Smith himself explains, his process is one of constant exploration. “I try to find new things in them when I look at them,” he says, “I’m not entirely sure I want to figure them out because I probably won’t want to make them if I understand them.” This sense of ambiguity is crucial to the emotional power of his work—each piece feels like it’s still in the process of becoming, inviting the viewer to engage in their own exploration.
In Smith’s hands, geometry becomes both a framework and a paradox. His compositions often start with a gridded structure, a scaffolding of intersecting lines and shapes that provides a sense of order. Within this grid, he introduces the playful chaos of organic forms: spirals, orbs, and jagged shapes that spill out and disrupt the geometric balance. It’s as though the artist is creating a visual game board, one that invites both structure and spontaneity. As he describes it, “If there is a break from logic, that sense of order can quickly collapse, creating tension, sort of like removing the bottom pieces in a game of Jenga.” This tension—between the structured and the chaotic—forms the backbone of his artistic approach, making each piece a dynamic, evolving conversation between control and freedom.
One of the most compelling aspects of Smith’s work is the way he balances precision with emotion. While his compositions are meticulously structured, with every curve and line purposefully placed, the faces that emerge from the patterns are far from rigid. There is a softness to their expression, a sense of fluidity that belies their geometric origins. The faces appear as if they are in the process of becoming something else—shifting, morphing, evolving in response to the viewer’s gaze. It’s this sense of constant transformation that makes Smith’s portraits so intriguing. They don’t offer easy answers, but instead, present a space for reflection, a visual invitation to explore the boundaries between abstraction and figuration.
Smith’s fascination with geometry is also evident in his choice of materials. Rather than mixing colors in the traditional sense, he layers them, allowing each hue to stand independently while creating a harmonious whole. This process is slow and introspective, with each layer contributing to the overall composition in a deliberate way. The result is a visual experience that feels both intricate and intentional, yet open to interpretation. The decorative elements—delicate lines and hand-drawn flourishes—serve not only as embellishments but as structural components of the piece. They either assert order or disrupt it, depending on how they are integrated into the larger design. This dual role of the ornamental adds a layer of complexity to his work, making it as much about visual play as it is about emotional depth.
One of Smith’s most recent works, Picture of Dorian Greige (2024), exemplifies his unique approach. At first glance, the piece appears to be a symphony of color and form, with geometric shapes spiraling outward from a central focal point. But upon closer inspection, a face begins to emerge from the chaos—subtle, almost ghostly, yet undeniably present. The vibrant palette of gouache and ink gives the piece a vivid energy, but it’s the underlying abstraction that keeps the viewer’s gaze lingering, drawn to the interplay between order and dissolution.
Smith’s portraits, while abstract in nature, tap into something deeply human. They remind us that identity is not a fixed concept, but rather a fluid, evolving process. Just as the geometric forms in his work shift and change, so too do our perceptions of ourselves and others. These faces are not mere representations but metaphors for the malleability of identity, for the way we all continuously evolve.
In a world that often demands clear definitions and easy answers, Geoffrey Todd Smith’s art offers a refreshing alternative. His works are not about resolution but about exploration—about embracing the complexity of human experience and allowing room for ambiguity. By fusing the precision of geometry with the fluidity of the human form, Smith creates art that is at once visually stunning and intellectually stimulating, inviting us to look deeper and consider the ever-changing nature of identity and expression.
