Research
Tingyue Zhang reviews James Smeaton: new works on paper
At the ACAE Gallery in Collingwood, a mountain stands quietly. This mountain is Mount “Agung”, Bali’s most sacred landmark, believed to be the dwelling place of the gods. For Melbourne-based artist James Smeaton, “Agung” has become a recurring spiritual totem and focal point in his recent practice. Smeaton is an Australian contemporary artist with more than 30 years of creative experience. He has held 19 solo exhibitions since 1993, and his works are collected by many important public and private institutions in Australia. This exhibition presents a new group of works on paper by Smeaton, focusing on the single image of Mount “Agung” but with variations. The exhibition will be on display from May 31 to June 28, 2025.
Walking into the exhibition hall, the first piece is on the far right, with a bold work radiating gold and red, like the glowing embers of a volcanic eruption. To its side, three more boards line the right wall, with calmer tones. Each mountain emerges against a vivid background, resembling the same sacred form filtered through different times of day, spiritual states, or emotional climates, which reminds me of the discussion about the multiple reproductions of the same holy image in the religious context. The left wall forms the rhythmic backbone of the exhibition. 16 works on paper are neatly arranged, each depicting the same triangular mountain shape. This repetition transforms individual images into a collective visual experience, where subtle differences begin to surface, including ink density, line movement, and color variation. In this context, repetition becomes a meditative practice in viewing. Deeper into the space, four gold-and-blue works are arranged in a gentle curve, evoking a mountain path, or perhaps the motion of wind, water, or breath during ascent. Beyond them, three black-and-gold works form a mysterious triangular matrix, which is grounded and ritualistic. In the innermost, two red works are quietly hung in the corner. They are the most hidden, and yet the most visually intense. It feels as if the emotional energy of the entire exhibition culminates here. The exhibition begins in red and ends in red, completing a cycle that is not only visual but also conceptual.
The repetitive depiction of Mount “Agung” forms the core visual theme of this exhibition. In Balinese culture, repetition is a fundamental aspect of ritual and spiritual expression. The repetition within Balinese dance, chanting, and ceremonial gestures serves not only an aesthetic role but also actively reinforces communal bonds and aligns society with cosmological order. Similarly, Smeaton incorporates this cultural logic into his artistic practice. His repeated renderings of “Agung” function much like a visual prayer, transforming the act of creation and viewing into a spiritual meditation.
Smeaton repeatedly paints Mount “Agung”, and this continuous artistic practice itself resembles a ritual, or can be seen as an attempt to approach a sacred space. However, within Balinese tradition, strict rules regulate physical access to these spaces. Specifically, women are considered impure during menstruation and are explicitly forbidden from entering temples or sacred ceremonial areas since this year. This restriction clearly defines which bodies are allowed to approach and participate in rituals and which are excluded. These regulations can be associated with broader questions like who has the right or privilege to depict and symbolically approach sacredness? In this case, does Smeaton’s Western perspective, particularly as a Western male artist, unintentionally grant him a privileged position in visually depicting sacred Balinese sites?
As someone working in the art field, I believe highlighting this tension and complexity is essential. By raising these questions, the exhibition aims to open up this ongoing dialogue. If a Balinese woman contemporary artist were invited to depict it, how might their interpretations differ? Ultimately, the exhibition seeks to embrace complexity, cultural sensitivity, and continued reflection through dialogue.
Tingyue Zhang, 2025
Tingyue Zhang is an arts researcher based in Naarm/Melbourne. Tingyue is currently working with the curatorial team at ACAE Gallery.
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