Adam Parker Smith studied at Tyler School of Art in Philadelphia. His work has been widely exhibited in galleries and museums internationally, including the Brooklyn Museum, Marlborough Gallery (London), Derek Eller and The Hole (New York), County Gallery (Miami), Galeria Curro (Guadalajara), Hans Alf (Copenhagen), The Times Museum (Guangzhou, China), The Watermill Center (New York), and the Maraya Art Centre (Sharjah, UAE). His work is held in collections such as Donum Estate, the Cordero Collection, Colecciòn SOLO, the Gunnar & Trine Kjems Collection, the Sixtus-Thomsen Collection, and the Ægidius Collection. His work has been featured in New York Times, San Francisco Chronicle, Art in America, The Village Voice, ArtForum, Modern Painters, The Boston Globe, The New Yorker, and The New York Post. Smith’s work occupies the space between weight and weightlessness, presence and projection. In the “Carolyn” series, a single figure is multiplied through repetition, rendered in electric blue, becoming both apparition and icon. In the “Shibari Heart” series, hearts appear inflated, glossy, and controlled; what seems light and playful is in fact fixed and tense. In the “Pool Float” sculptures, the body is revisited through objects designed for rest and weightlessness; classical statuary poses translate into leisure, yet remain immovable, suspended. Across these series, Smith uses surface, color, polish, and reflection to first attract and then resist the viewer. What appears light is heavy, what seems temporary is fixed. The sculptures invite attention to the moment between motion and stillness, desire and restraint, and the body and the image it becomes when held in place.