Endlessly replicated both by hand and by mechanised copy, the vacant and generic quality of Josh Smith’s work gains momentum as a collection of empty signifiers. Made from recycled and plebian materials, and painted with an impoverished aesthetic, Smith frames artistic legacy with an air of inadequacy and humility. In Untitled, Smith pastes green and black posters and photocopies together as an abstracted colour-field. Complemented in places by haphazard dabs of paint, the textures of the printed matter are juxtaposed against evidence of the artist’s hand, creating a tension between facsimile and innovation.

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