Tommy Smits’ work draws on archaeology, speculation and anachronism, to produce objects and situations that seem out of sync with their time.

He is interested in how meaning is assigned: who interprets, who owns, and what happens when that control shifts. Some works are placed in remote landscapes, others circulate as objects that point elsewhere. Access often requires a decision or a risk, resisting passive consumption.

Smits treats his work as traces rather than fixed pieces; artefacts that might be found, misread, or reassigned value over time. They function less as complete statements and more as fragments without a stable narrative.