"Zak there’s so many cords in your paintings."
"Yes there are."
"So what do I say?"
"Well there are cords there. Actually. I mean, if you look around."
"But is there a significance to it?"
"Things do need to get plugged in."
"The electrical cords that slither across and through the domestic spaces of Smith’s portraits—and, they remind us, our own lives and our own spaces—function—not unlike the frantic, elastic notational sketchwork underlying ‘Pictures Of What Happens On Each Page Of Thomas Pynchon’s Novel Gravity’s Rainbow’ or the coiled netting of shadow and tentacle animating ‘100 Girls and 100 Octopuses’ —not only as a meshwork of enclosing line but as vectors of information, inflection, and narrative."