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It wasn’t a dream…
Tracey Snelling's work uses documentation, anachronism and the feeling of estrangement as a symbolic resource to re-present her experience with each place she visits. But sometimes, the memories of your memory and imagination intervene in the new scenes and suddenly seem lik... more >> Tracey Snelling's work uses documentation, anachronism and the feeling of estrangement as a symbolic resource to re-present her experience with each place she visits.
Tracey Snelling's work uses documentation, anachronism and the feeling of estrangement as a symbolic resource to re-present her experience with each place she visits. But sometimes, the memories of your memory and imagination intervene in 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.
More than a documentation, Snelling's work is a mental construction of a rethinking of identity, which is changing and has no limits today. Like Stanford, Tracey seems to explore the so-called swamprat Rimbaud […] [a] redneck surrealist. "Reproducing" reality and taking it to models is an act of locating where we are, who we are and what we represent when we are seen from the outside, either by an outsider or from the outskirts of our consciousness.
For Tracey, the shape is never a static container for 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 to swim among the reality of the irreal. Tracey wasn't dreaming… something beyond made her to swim among the reality of the unreal.
