Tracey Snelling
I have been awarded a 2015 Joan Mitchell Foundation Painters and Sculptors Grant:
http://www.digitaljournal.com/pr/2785124

Video documentation of One Thousand Shacks:
https://vimeo.com/147185683

Recent press:
Huffington Post: The Best Art to See This January http://www.huffingtonpost.com/susan-mich

THE ESTABLISHMENT interview about One Thousand Shacks
http://www.theestablishment.co/2015/11/1

HI FRUCTOSE article about One Thousand Shacks
http://hifructose.com/2015/11/11/tracey-

ART Habens interview about films
http://issuu.com/arthabens/docs/art_habe

JUXTAPOZ interview with Austin Mcmanus
interview link

Upcoming show:
Clusterfuck 3
solo installation
New Image Art
Los Angeles, CA
January 16 - February 13, 2016
http://www.newimageartgallery.com/exhibi

Present events:
2050: A Brief History of the Future
Royal Museum of Fine Arts
September 11, 2015 - January 24, 2016
Brussels, Belgium
curated by Pierre-Yves Desaive
inspired by Jacques Attali’s book A Brief History of the Future
with a concurrent exhibition at the Louvre
Belgian and international artists such as Hiroshi Sugimoto, Alighiero Boetti, Isek Kingelez, Andy Warhol, David LaChapelle, Andreas Gursky, Hans Op de Beeck, Yang Yongliang, Gavin Turk, Francis Alÿs, and others.
http://www.expo-2050.be/en#exhibition

One Thousand Shacks preview
Preview of my new installation One Thousand Shacks
November 20, 2015 (installed through January)
Oakland, CA
https://vimeo.com/141114389

Dark Ages
Aeroplastics Contemporary
Curated by Sebastian C. Strenger and Jerome Jacobs
with Carlos Aires; Francis Alys; Joseph Beuys; John Bock; Wim Delvoye; Alberto Giacometti; HeHe; Eva Hesse; Thomas Hirschorn; John Isaacs; Nadav Kander; Martin Kippenberger; Sigmar Polke; Gerhard Richter; Tracey SNELLING; Gavin Turk; and Luc Tuymans, among others.
September 20, 2015 - January 9, 2016
opening November 19, 2015
http://www.aeroplastics.net/darkages

Imagining Home
Baltimore Museum of Art
Baltimore, Maryland
October 25, 2015 — June 1, 2018


Driving down the street at night, I look at the lit windows of the houses that I pass, and I wonder who lives there. What is taking place behind that drawn window shade? A tired motel sign along the side of the highway still buzzes and beckons travelers to come stay in one of the faded rooms. An old furniture store on a street in a forgotten downtown is dark and the sofas are covered with dust. I want to know the stories of the people who once inhabited these areas.

My work derives from voyeurism, film noir, and geographical and architectural location. Within this idea of location, themes develop of a particular locale’s inhabitants: Who are these people? What do they do and why do they do it? These questions transport observation into the realm of storytelling, and as my work evolves, I continue to explore place, people, and culture through the use of scale and repetition of a theme; I create new realities that change with the viewer’s
perception. Through video, sound, and manipulation of size, I am not trying to replicate a place; rather I give my impression of a place, its people and their experience, and allow the viewer to extrapolate his or her own meaning.

When visiting different cultures, countries, and neighborhoods, I am fascinated by the possibility of unfamiliarity. To be square in the middle of a culture so foreign, one almost feels invisible. To walk down these alien streets, trying to dress and assimilate as though I belong, I am able to observe subtly the daily interactions and goings-on of the people who live and work there. Sometimes I will give up the idea of being inconspicuous and travel as “the tourist,” camera and sound recorder in hand, which offers yet another perspective and offers a completely different take.

At the core of my work resides the intersection of place and experience. I try to do this with as much respect as possible to foreign cultures and tradition, while staying true to the call of the artist by shining a light on the little seen corners. Ultimately, my personal views and ideas come into play, and I believe it is this melding, the known with the unknown, the foreign with the familiar, that fuels my work and creates such a rich experience for the viewer.