Step into a world where perfection masks a quiet sorrow and hope whispers through every frame—this is the captivating realm of Rodney Smith’s photography, now on display at Palazzo Roverella in Rovigo. But here’s where it gets intriguing: Smith’s work isn’t just about stunning visuals; it’s a profound exploration of the human condition, balancing between the real and the surreal, the divine and the mundane. And this is the part most people miss: his photographs, though meticulously composed, are not about retouching or digital manipulation—they’re the result of sheer artistry and control during the shoot itself.
The exhibition, spanning over a hundred images, is a journey through six conceptual themes that challenge perception and invite reflection. It begins with The Divine Proportion, where each shot adheres to the golden ratio, a mathematical precision that feels almost sacred. From there, it dives into Gravity, where figures and objects seem to defy the laws of physics, floating in a dreamlike universe. Ethereal Spaces and Through the Mirror play with duality, erasing traces of time and place, much like Alice’s fall into Wonderland. The exhibition culminates with Time, Light, and Permanence and Passages, exploring thresholds that lead to undefined, luminous elsewhere.
Smith, a former student of Walker Evans and a scholar of philosophy and theology, found in photography a language to express his deepest contemplations. Curator Anne Morin notes that his work is rooted in the relationship between humanity, God, and nothingness—a theme echoing the writings of Paul Ricœur, Descartes, and Spinoza. But here’s the controversial part: while Smith’s images are often described as surreal and whimsical, they also carry a persistent melancholy. How can a single photograph embody both joy and sorrow, perfection and imperfection? Is it a reflection of the human experience itself?
Susan Bright observes that Smith’s photographs, though capturing a single moment, are laden with anticipation, inviting viewers to imagine what happens next. This narrative intrigue transforms the viewer into a co-author, much like cinema does with its audience. Yet, unlike film, photography is often seen as a frozen moment in time. Smith challenges this by creating images that feel suspended, timeless—his 1990s and early 2000s works evoke the elegance of the 1930s, blurring the lines between past and present.
A distinctive feature of Smith’s style is the tilted body, a nod to silent cinema and a symbol of balance—between control and chaos, perfection and imperfection. Most of his works are in black and white, a medium he adored for its abstract intensity. As he once said, ‘There is nothing like the blackness and luxuriant intensity of black-and-white.’ But here’s a thought-provoking question: Does color photography, which he adopted later in his career, serve a different emotional purpose? And if so, what does that say about the power of monochrome?
Leslie Smolan sums it up beautifully: Smith’s photographs embody the duality of human existence—aspiring to perfection while embracing imperfection, seeking divinity while confronting nothingness. His work reminds us that life itself is a beautiful contradiction. So, what do you think? Can art truly capture the essence of being human, or is it always just a glimpse?
The exhibition, accompanied by a catalog curated by Anne Morin with texts by Susan Bright and Leslie Smolan, runs from October 4, 2025, to February 1, 2026, at Palazzo Roverella, Rovigo, Italy. Don’t miss this chance to immerse yourself in a world where reality and enchantment intertwine. Visit https://www.palazzoroverella.com/en/ for more details.
Paola Sammartano
Rodney Smith: Photography Between Real and Surreal
