Resumen

I capture the essence of time and place, engaging with my surroundings and merging its residents, localities and atmospheric peculiarities into my work. By exploring the immediate environment, studying every detail and extracting specific highlights, I transform the information into artworks, best described as 3-D non-linear sculptural films. Combining sculpture, video, light, sound, and sometimes even water and smell, they capture places and people at a specific time in history.

 

- Tracey Snelling

Tracey Snelling's work uses documentation, anachronism and the feeling of estrangement as a symbolic resource to represent her experience with each place she visits. But sometimes, the recall of her memory and imagination intervene with the new scenes and suddenly seem like self-reflections of the soul or pure metaphysics. These isolated scenes sometimes remind me of Frank Stanford's film “It wasn't a dream, It Was a Flood”, for its surreal nuance and the fine line between reality and unreality, but also for the repressed sexual desires suggested by ontological voyeurism, that also characterizes Snelling's work through images or videos set to views of cities, fields, buildings, dens, etc.

Obras
  • Tracey Snelling, My First Time in a Love Hotel, Japan Edition, 2022-2023
    Tracey Snelling
    My First Time in a Love Hotel, Japan Edition, 2022-2023
    Video slideshow
    Ed. of 10
  • Tracey Snelling, Killer and me, 2020
    Tracey Snelling
    Killer and me, 2020
    Photographic paper. Hahnemuhle Fine Art Paper
    16 x 20 in
    40.6 x 50.8 cm
    Ed. 1 of 7 and 2 AP
    $ 2,500.00
  • Tracey Snelling, House of Horrors, 2013
    Tracey Snelling
    House of Horrors, 2013
    Mixed Media
    38 x 26 x 3 in
  • Tracey Snelling, House on the Hill, 2013
    Tracey Snelling
    House on the Hill, 2013
    Mixed Media
    23 x 24 x 19 in
  • Tracey Snelling, House on the Hill, 2013
    Tracey Snelling
    House on the Hill, 2013
    Mixed Media
    23 x 24 x 19 in
  • Tracey Snelling, Bad Girl, 2012
    Tracey Snelling
    Bad Girl, 2012
    Mixed Media
    28 x 24 x 24 in
  • Tracey Snelling, Bad Moon, 2012
    Tracey Snelling
    Bad Moon, 2012
    mm installation
    16 x 20 x 20 in
  • Tracey Snelling, Mau Loa, 2012
    Tracey Snelling
    Mau Loa, 2012
    Mixed media installation
    21.50 x 13.50 x 5.50 in
  • Tracey Snelling, Film still Zhujiajiao, 2010
    Tracey Snelling
    Film still Zhujiajiao, 2010
    Wall hanging video sculpture
    16 x 23 x 4.50 in
    Edition of 5
  • Tracey Snelling, I love China, 2010
    Tracey Snelling
    I love China, 2010
    83 x 28 x 6 in
  • Tracey Snelling, Night Town, 2010
    Tracey Snelling
    Night Town, 2010
    wood, plaster, paint, images, lights, video
    16 x 24 x 21 in
  • Tracey Snelling, Al Pescando, 2008
    Tracey Snelling
    Al Pescando, 2008
    mm construction
    64 x 30 x 2.50 in
  • Tracey Snelling, Bless you God, Our King of the World, for not creating me a woman, 2008
    Tracey Snelling
    Bless you God, Our King of the World, for not creating me a woman, 2008
    mm construction
    64 x 31 x 2 in
  • Tracey Snelling, Blood Mobile, 2008
    Tracey Snelling
    Blood Mobile, 2008
    mm construction
    86 x 30 in
    218.44 x 76.2 cm
  • Tracey Snelling, Fireside Motel, 2008
    Tracey Snelling
    Fireside Motel, 2008
    mm construction
    47.50 x 44 x 23 in
  • Tracey Snelling, Mean Lean Disco, 2008
    Tracey Snelling
    Mean Lean Disco, 2008
    mm construction
    44 x 24 x 30 in
  • Tracey Snelling, Mujeres Bonitas, 2008
    Tracey Snelling
    Mujeres Bonitas, 2008
    mm construction
    64 x 31 x 2 in
  • Tracey Snelling, Here Billboard, 2007
    Tracey Snelling
    Here Billboard, 2007
    Mixed Media
    55 x 33 x 4 in
  • Tracey Snelling, We are one, 2007
    Tracey Snelling
    We are one, 2007
    Mixed Media
    32 x 24 in
    81.28 x 60.96 cm
  • Tracey Snelling, Big Blackwater, 2006
    Tracey Snelling
    Big Blackwater, 2006
    Mixed Media
    52 x 40 x 12 in
  • Tracey Snelling, Big Here, 2006
    Tracey Snelling
    Big Here, 2006
    mm construction
    60 x 84 x 12 in
  • Tracey Snelling, Big Woodland, 2006
    Tracey Snelling
    Big Woodland, 2006
    Mixed Media
    77 x 47 x 30 in
  • Tracey Snelling, Dark Detour, 2006
    Tracey Snelling
    Dark Detour, 2006
    Mixed media video installation
    22 x 50 x 4 in
  • Tracey Snelling, He'll Kill Big, 2006
    Tracey Snelling
    He'll Kill Big, 2006
    Mixed Media
    70 x 41 x 26 in
  • Tracey Snelling, Here, 2006
    Tracey Snelling
    Here, 2006
    Mixed media construction with speakers with dialogue, song, and train sound; slides; flashing sign.
    45 x 14.50 x 15 in
    $ 8,000.00
  • Tracey Snelling, Motor Court Murder, 2006
    Tracey Snelling
    Motor Court Murder, 2006
    Wall hanging video sculpture
    14 x 20 x 2 in
  • Tracey Snelling, Blue Swallow Motel, 2005
    Tracey Snelling
    Blue Swallow Motel, 2005
    Type c print
    12 x 20 in
    30.48 x 50.8 cm
    Edition 2 of 20
  • Tracey Snelling, Fireside Motel, 2005
    Tracey Snelling
    Fireside Motel, 2005
    type c print
    12 x 20 in
    30.48 x 50.8 cm
  • Tracey Snelling, Fireside Motel, 2005
    Tracey Snelling
    Fireside Motel, 2005
    C-Print on Aluminum Mount
    7 x 20 in
    17.78 x 50.8 cm
  • Tracey Snelling, Flag Sale, 2005
    Tracey Snelling
    Flag Sale, 2005
    Type c print


    7.5 x 13 in
  • Tracey Snelling, Flag Sale, 2005
    Tracey Snelling
    Flag Sale, 2005
    type c print
    7.50 x 13 in
    19.05 x 33.02 cm
  • Tracey Snelling, Here, 2005
    Tracey Snelling
    Here, 2005
    Photograph
    30 x 38 in
    76.2 x 96.52 cm
    Limited
  • Tracey Snelling, Sunset Boulevard, 2005
    Tracey Snelling
    Sunset Boulevard, 2005
    Type c print
    12 x 20 in
    30.48 x 50.8 cm
    Edition 1 of 20
  • Tracey Snelling, The Getaway, 2005
    Tracey Snelling
    The Getaway, 2005
    Mixed Media
    33 1/2 x 61 x 5 in
    85.1 x 154.9 x 12.7 cm
    Ed. 1 of 3
  • Tracey Snelling, Willie's Place, 2005
    Tracey Snelling
    Willie's Place, 2005
    C-print on aluminum
    12 x 20 in
    30.48 x 50.8 cm
    Edition 4 of 20
  • Tracey Snelling, Hopeless II, 2003
    Tracey Snelling
    Hopeless II, 2003
    Photograph
    30 x 38 in
    76.2 x 96.52 cm
  • Tracey Snelling, Regency, 2003
    Tracey Snelling
    Regency, 2003
    C-Print on Aluminum Mount
    16 x 20 in
    40.64 x 50.8 cm
  • Tracey Snelling, Sirloin, 2003
    Tracey Snelling
    Sirloin, 2003
    C-Print on Aluminum Mount
    16 x 20 in
    40.64 x 50.8 cm
  • Tracey Snelling, Berlin, 2001
    Tracey Snelling
    Berlin, 2001
    C-Print
    22 x 16.50 in
    55.88 x 41.91 cm
  • Tracey Snelling, 1881 Chestnut Street, 1998
    Tracey Snelling
    1881 Chestnut Street, 1998
    C-Print
    17 x 11 in
    43.18 x 27.94 cm
Video
Biografía

More than a documentation, Snelling's work is a mental construction of a re-thinking of identity, which is endlessly changing up to the here and now . Like Stanford, Tracey seems to explore the so-called swamprat Rimbaud […] [a] redneck surrealist. "Reproducing" reality and converting it models or maquettes  is an act of locating where we are, who we are and what we represent when we are seen from the outside, either by someone else or from the outskirts of our own consciousness.

For Tracey, the shape is never a static container for its content. Through her formal choices, her narrative poems project a refracted vision of existence, where there is always a factor that breaks the "tranquility of the scene." Tracey wasn’t dreaming… something beyond made her swim between reality and the unreal.

Tracey Snelling was born 1970, Oakland, California. She attended the University of New Mexico, Albuquerque; and the San Joaquin Delta College, Stockton, California.

She was exhibited internationally and her work is part of the collections of prestigious institutions such as the Baltimore Museum of Art, Baltimore, Maryland; the Museum of Fine Arts, Houston, Texas; the West Collection, Pennsylvania; and the 21c Museum, Louisville, Kentucky, just to name a few. 

In 2016 she was one of the recipients of the Joan Mitchell Foundation Painters and Sculptors Award, Snelling is one of those artists whose work is structured based on a story. Her unique scale models are made from imaginary buildings, sometimes creating small towns. These buildings show fragments of movies in their windows, provoking spectators to look inside, establishing a relationship of complicity with them through voyeurism. The viewer is puzzled by the stories behind each of the characters that inhabit these “buildings” and the connection among them.

Exposiciones
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