▁on ▁modern ▁urban ▁al ien ation , ▁a ▁post - indust rial ▁landscape ▁that ▁has ▁fallen ▁from ▁human ▁control . ▁O thers ▁have ▁cast ▁him ▁as ▁a ▁real ist , ▁hyper - real ist , ▁' off - be at ▁classical ist ' ▁and ▁a ▁met aph ys ical ▁painter . ▁Some ▁critics ▁have ▁even ▁referred ▁to ▁Sm art ' s ▁paint ings ▁as ▁port ray ing ▁' Or w elli an ▁glo om ' ▁– ▁a ▁statement ▁referring , ▁in ▁particular , ▁to ▁George ▁Or well ' s ▁literary ▁political ▁master pie ce , ▁Nin ete en ▁E ight y - F our . ▁James ▁G le es on ▁bel ieves ▁that ▁Sm art ' s ▁paint ings ▁are ▁" to o ▁real ▁to ▁be ▁real "; ▁and ▁bel ieves ▁that ▁his ▁real ist ▁port ray als ▁of ▁ 2 0 th ▁century ▁life ▁are ▁nothing ▁more ▁than ▁super b ▁geomet rical ▁compos itions ▁and ▁bold ▁colour , ▁of ▁man ▁in ▁his ▁natural istic , ▁man - made ▁environment . ▁It ▁is ▁true , ▁for ▁instance , ▁that ▁trees ▁are ▁rarely ▁seen ▁in ▁Jeff rey ▁Sm art ' s ▁art works , ▁and ▁the ▁only ▁grass ▁is ▁that ▁growing ▁between ▁concrete ▁stones , ▁but ▁as ▁Sm art ▁claimed : ▁" an ▁artist ▁has ▁to ▁be ▁moved ▁to ▁move ▁his ▁view ers ", ▁and ▁Sm art ▁was ▁moved ▁by ▁man ▁in ▁nature ▁– ▁man - made ▁nature ▁– ▁not ▁concerned ▁with ▁your ▁typical ▁Australian ▁landscape . ▁" I ▁like ▁living ▁in ▁the ▁