• Muscle Memory

    Cyanotype, ink, gouache, and oil on Rives BFK collaged on masking tape
    65" x 39"  |  2016

  • Contrapposto

    Oil on mylar and ink on Rives BFK collaged on masking tape
    34" x 23.5"  |  2015

  • Color in Words in Color

    Ink and gouache on Rives BFK and various papers collaged on masking tape
    57” x 55”  |  2016

  • Static Stills

    Oil on mylar and ink on Rives BFK collaged on masking tape
    31" x 21"  |  2015

  • These Tattered Maps

    Ink and gouache on Rives BFK and oil on mylar collaged on masking tape
    64" x 39"  |  2016

  • Sliver

    Oil on mylar and ink on Rives BFK collaged on masking tape
    25" x 18"  |  2015

  • Outside of Now

    Cyanotype, ink and gouache collaged on masking tape
    71" x 53"  |  2016

  • Light Shapes and Colors

    Ink on Rives BFK and oil on mylar collaged on masking tape
    46" x 33"  |  2015

  • Sounds Before Symbols

    Cyanotype, ink and gouache on Rives BFK and oil on mylar collaged on masking tape
    33" x 38"  |  2016

ASTRI SNODGRASS Website CV

Chattanooga, TN | Painting, Mixed Media, Photography, Printmaking, Drawing
Bio:

Astri Snodgrass holds an MFA in Studio Art from the University of Alabama and a BA in Art and Spanish from Luther College. Experiences in Norway at Nansenskolen Norsk Humanistisk Akademi and the Universidad Nacional de Cuyo in Mendoza, Argentina helped shape her interests in language, light, and perception. Snodgrass’ work has been exhibited in a number of group and solo shows at COOP Gallery in Nashville, Tennessee, the Fuel and Lumber Company in Birmingham Alabama, the Sarah Moody Gallery of Art in Tuscaloosa, Alabama, and McNeese State University’s Grand Gallery in Lake Charles, Louisiana to name a few. Snodgrass teaches as a Lecturer in Painting and Drawing at the University of Tennessee at Chattanooga.

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Statement:

Created through a transfer process that blends elements of painting, drawing, printmaking, and photography, my collage works are formed by embedding an image in a surface of masking tape. The making of these objects does not precede the images; instead, the piece is built all at once, like a weaving. Using collages as negatives, I print cyanotypes from sunlight that emphasize the ragged but pristine quality of the translucent surfaces. These abstract photographs function like x-rays, while the use of décollage reads like dissection – evidence of the search for meaning in bridging the gap between visual and verbal language.

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