Achievements

Bachelor of Fine Arts (Hons)

University of Auckland 2020

Master of Fine Arts (MFA)

University of Auckland 2021

Eden Arts Awards Overall Winner

2020

Gow Langsford Art Prize Finalist

2020

Solo Exhibitions

• Thank You For Sharing, I Really Appreciate It, George Fraser Gallery, Auckland, New Zealand (2023)

• If Only I Were That Easy To Get Rid Of, Elam University of Auckland, Auckland, New Zealand (2024)

Group Exhibitions

• Have You Ever Been Crying In A Hospital In Full Drag?, Never Project Space, Hamilton, New Zealand (2022)

• End-to-End (P.T.2), Ethan Frome & SCA Project Space, Sydney, Australia (2024

Brittany Walker Smith is a Doctoral candidate at Elam School of Fine Arts, University of Auckland, whose work explores the aesthetics of frivolity as a critical and celebratory response to the inescapable negativity of modern life. Her practice draws on theories of emotional labour, aesthetic affect, and the philosophy of Cruel Optimism as articulated by Lauren Berlant, interrogating societal narratives that insist happiness and fulfilment are achievable through relentless effort. Instead, Brittany’s work embraces negativity as an unavoidable constant, advocating for a radical acceptance of struggle and dissatisfaction, wrapped in a veneer of unapologetic femininity and frivolous aesthetics.

Rejecting the sterility of minimalism, Brittany’s art foregrounds the value of the decorative, the shiny, and the seemingly trivial. By incorporating humour, text, and materially excessive elements—such as glitter, faux fur, velvet, and other luxury materials—her works transform objects and spaces into kitschy yet deeply reflective critiques of societal expectations. Her notion of frivolity extends beyond mere aesthetic indulgence; it becomes a form of world-building, a safe haven where negativity is acknowledged, adorned, and even celebrated.

Central to her practice is the understanding that frivolity, often dismissed as unserious or superficial, holds the potential to disrupt traditional power dynamics in art and culture. She examines how femininity and materiality, particularly when embraced without apology, challenge the expectation of emotional labour and the undervaluing of self-satisfaction. This reclamation of the “silly” and “excessive” becomes both a coping mechanism and an act of defiance against societal pressures to solve the unfixable.

Brittany’s practice is grounded in a deep love for aesthetic affect, with materials and motifs chosen for their ability to evoke emotional responses and create immersive fantasy worlds. Drawing from her fascination with bimbo culture and the unapologetic self-awareness it embodies, her work reclaims frivolous aesthetics as a means of navigating the daily disappointments of contemporary life. By situating her practice within the broader context of societal disillusionment and capitalist structures, she invites viewers to reconsider the role of aesthetics in processing the complexities of the modern condition.

Through her work, Brittany offers a compelling reimagining of art as a space for humour, adornment, and self-reflection, where the mundane and negative aspects of life are not only accepted but also transformed into something beautiful and meaningful.

Insta: @brittanywalkersmith