“Game of Shadows by Duncan McGillivray-Smith”

Duncan McGillivray-Smith’s debut exhibition, “Ataraxia,” at Ackerman Clarke in Chicago, offers a captivating exploration of tranquility confronted by disquiet. The term ‘ataraxia’ refers to an ancient Greek concept of inner peace, and through McGillivray-Smith’s work, these themes are vividly explored. His seven oil paintings seamlessly blend normalcy with the uncanny, inviting viewers into a world where shadows and figures interact to create an atmosphere of mystery and intrigue.

In “Late Day in a Small World” (2023), McGillivray-Smith paints a pastoral scene transformed into a stage-like setting, emphasizing the horizon with a pink line and populating the scene with figures and animals that cast enigmatic shadows. This notable use of shadows is a recurring motif, suggesting themes of intrusion and anticipation.

In “Four of Us” (2024), McGillivray-Smith presents an ambiguous narrative. Here, two figures use a saw on a small tree, with shadows introducing a fourth, unseen presence. His work’s open-ended narratives are enhanced by the shadows, adding layers of potential outcomes that challenge the viewer’s perception.

“Thaw on the Mountain, Ice in the Valley” (2024) extends this motif, portraying skiers whose shadows split the canvas, bridging snowy expanses with distant valleys. This technique underpins the paintings’ logic, inviting viewers to enter a world constructed with deliberate ambiguity.

Each of McGillivray-Smith’s paintings is a testament to his artistry, creating personal domains imbued with tension and mystery. His debut exhibition solidifies his capacity to craft narratives that invite contemplation and question accepted realities. “Ataraxia” remains on view at Ackerman Clarke Gallery through November 22.