Tracey Snelling
The Naked CityConcrete JungleOne Thousand ShacksThe StrangerSculpturesInstallationsWall Mount SculpturesPhotographsNothing, the filmWoman on the RunWhere Mr. Wong Sent MeBordertown at SundancePressBio
Based in Berlin and Oakland.
I have been awarded a 2015 Joan Mitchell Foundation Painters and Sculptors Grant:
http://www.digitaljournal.com/pr/2785124

image shown: Tenement Rising

The Naked City
Krupic Kersting
Cologne, Germany
September 2-November 5, 2016
http://www.kukgalerie.de/

One Thousand Shacks
Future Talkwith ArtPrize
Urban Institute for Contemporary Arts
Grand Rapids, Michigan
September 13 - October 17, 2016
http://www.uica.org/calendar/futuretalk
http://www.artprize.org/64159

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.

Turn the Page: The First Ten Years of Hi-Fructose
Virginia MOCA
Virginia Beach, Virginia
May 22, 2016 – December 31, 2016
http://www.virginiamoca.org/turnthepage
With Erwin Wurm, Kehinde Wiley, Wim Delvoye, Kazuki Takamatsu, and others.

Upcoming:
One Thousand Shacks
Urban Institute for Contemporary Arts
Grand Rapids, Michigan
Spetember 21-October 15, 2016

Art on Market Street Poster Series
October 10, 2016 – January 9, 2017
Market Street, San Francisco
Sponsored by the San Francisco Arts Commission

Criminal City
Upcoming commission for the Historisches Museum Frankfurt
Frankfurt, Germany
Fall 2017

Recent press:
Hi-Fructose
http://hifructose.com/2016/06/13/tracey-snelling-comments-on-her-latest-multimedia-dioramas/

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

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.