Tracey Snelling
Based in Berlin and Oakland.
I have been awarded a 2015 Joan Mitchell Foundation Painters and Sculptors Grant:
http://www.digitaljournal.com/pr/2785124
and am presently an artist in residency at the Künstlerhaus Bethanien, Berlin

image shown:
Play Motel, 2017
upcoming solo exhibition
Künstlerhaus Bethanien
Berlin, Germany
January 18 - February 12, 2018
http://www.bethanien.de/en/

Present Events:

Imagining Home
Baltimore Museum of Art
Baltimore, Maryland
October 25, 2015 — June 1, 2018
http://artbma.org/exhibitions/imagining-
With Jim Goldberg, Laurie Simmons, Alfred Stieglitz, Dave Eggers, Walter Henry Williams, Marguerite Gérard, and others.

OFF-SPRING: New Generations
21c Museum
Oklahoma City, Oklahoma
June 2017 to April 2018

Artist as Maggid: Jewish Tales and Creatures
Contemporary Jewish Museum
San Francisco, CA
September 28, 2017 - January 28, 2018

KUNSTHAUS: KOLLITSCH
Klagenfurt, Austria
September 29, 2017 – July 6, 2018

Criminal City
commission for the Historisches Museum Frankfurt
Frankfurt, Germany
October 2017
10 year installation


Recent press:
Shoot It video at Studio Stefania Miscetti, Rome: http://www.artribune.com/arti-visive/201

Historisches Museum Frankfurt articles:
Allgemeine Zeitung: http://www.allgemeine-zeitung.de/lokales
Berliner Zeitung: https://www.berliner-zeitung.de/panorama
Hessen Schau: http://www.hessenschau.de/kultur/frankfu
Frankfurter Rundschau: http://www.fr.de/frankfurt/typisch-frank

Lilith's Cave at the Contemporary Jewish Museum: http://www.ebar.com/arts/art_article.php
Sculptures at Kunstaush Kollitsch: http://www.kleinezeitung.at/kultur/kaern
Bad Motel at Bonnefantenmuseum: http://verkeersbureaus.info/nieuws/2017/

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.