▁the ▁individual ▁vie wer ." ▁Sm art ▁states ▁that ▁he ▁" p ain ts ▁a ▁picture ▁because ▁he ▁lik es ▁the ▁shape ", ▁and ▁when ▁asked ▁why ▁his ▁sk ies ▁are ▁always ▁so ▁glo omy ▁and ▁sm og - lad en ▁or ▁why ▁his ▁faces ▁never ▁wear ▁a ▁smile , ▁he ▁claims ▁" I ▁need ▁a ▁dark ▁sky ▁for ▁the ▁composition , ▁because ▁pale ▁blue ▁at ▁the ▁top ▁of ▁a ▁frame ▁looks ▁nothing   ... ▁[ and ] ▁because ▁a ▁sm iling ▁face ▁is ▁too ▁hard ▁to ▁paint ". ▁ ▁Sm art ' s ▁uns ent iment al ▁paint ings ▁en comp ass ▁lon ely ▁urban ▁v istas ▁that ▁seem ▁both ▁disturb ing ▁and ▁threaten ing . ▁Is ol ated ▁individuals ▁seem ▁lost ▁in ▁industrial ▁was tel ands , ▁full ▁of ▁high ▁rise ▁construction , ▁concrete ▁street - sc apes ▁and ▁an ▁eer ie ▁feeling ▁of ▁harm ony ▁and ▁equilibrium ▁– ▁where ▁silence ▁and ▁still ness ▁create ▁a ▁death ly ▁amb ience . ▁' The ▁express ▁ra pe ▁of ▁the ▁landscape ' ▁is ▁one ▁title ▁h anging ▁over ▁Sm art ' s ▁paint ings , ▁referring ▁to ▁the ▁fre ew ays , ▁street ▁signs , ▁tr uck s , ▁oil ▁drums , ▁containers , ▁buildings ▁and ▁concrete ▁div iders ▁that ▁are ▁the ▁ever - present ▁subjects ▁of ▁his ▁work . ▁At ▁the ▁same ▁time ▁his ▁paint ings ▁– ▁full ▁of ▁bold ▁colours ▁and ▁perfect ▁symmetry ▁– ▁are ▁beautiful . ▁The ▁repet ition ▁of ▁road ▁signs ▁in ▁his ▁works , ▁for ▁example , ▁suggest