As art critic Leah Ollman stated in her review of her 2015 exhibition at the Mark Moore Gallery in the Los Angeles Times:
"Limbs are entwined, tongues extended. Clay is rarely, if ever, this carnal. Some of the skin is mannequin-smooth but veined with cracks. Some seeps a pink foam or a pale fecal flood. Erotic pleasure plays a part here, but is only one of many competing charges."
"Throughout this, and Smythe's other works, there is a violent fragmentation that zigzags between sexual fantasy and deathly dismemberment. With its human shipwreck of compromised flesh, "Young Unbecoming" brings to mind Gericault's "Raft of the Medusa," and exudes comparable, palpable urgency."
"Smythe is a sculptor of struggle. Primal forces contend in the work, as do various aesthetic and formal dispositions. The sobriety of the relic is countered by the whimsy of glass and resin follies. Figures pallid and cadaverous lie upon a surface oozing with puddles in the happy hues of Easter eggs."
"The friction between generation and decay, elegance and entropy, is what makes Smythe's work so alive and also so tough to digest. It doesn't go down easy, or at all. Stubborn, sensual, visceral -- it sticks."