Smith utilized the domestic sphere as a primary laboratory for his "stark realism." Rejecting the sanitized, mid-century "soap opera" version of the nuclear family, George and his wife/collaborator, Virginia, insisted on portraying "two really real parents" caught in the chaotic "track meet" of existence. This was a radical departure from the curated perfection of his contemporaries.
Smith was a deep reader of psychology and theology, and he refused to sequester these "heavy" ideas from his art. He synthesized the works of Erich Fromm and Paul Tillich, arguing that the overcoming of alienation must occur first within the domestic unit.
Erich Fromm: Smith drew heavily on Fromm’s analysis of the "schizoid," "anxious," and "detached" nature of American life. He viewed the modern individual as increasingly alienated from their labor and their family.
Paul Tillich: Smith was fascinated by Tillich’s concept of the "New Being"—a state where "separation is overcome." He saw the messy connections of a family of eleven children as the ultimate venue for this theological breakthrough.
"Another profound theological pronouncement from Charlie my 2 1/2 year old grandson. Paul Tillich brilliant theologian spent endless nights working out his 'New Being' which he defined as; wherever separation is overcome... as I shut the door Charlie piped, 'Leave door open Gampa.' Tillich's replacement." — George Smith, "Ruminations" (Archive Project)
By anchoring Tillich’s dense abstractions in his grandson’s simple plea for an open door, Smith demonstrated his pedagogical skill, translating high-level theology into the language of the everyday.
