Paul Snell

A collection page of Ideelart

categoryLinked from the homepage
Products
118
Active ads
0
Depth
Click depth 1
Published
2024/03/28

About

Paul Snell is an Australian artist whose practice invites viewers into a contemplative space—a suspended moment where time feels paused and the pull of forward momentum is momentarily stilled. His work replaces the constant saturation of our image-driven world with moments of stillness, omission, and quiet reflection, offering a grounding experience where beauty is found in presence rather than progress. He lives and works in Launceston, Tasmania. Education Snell earned his Bachelor of Fine Arts at University of Tasmania in 1989, his BFA (Honors) from the University of Tasmania in 1995, and his Masters of Contemporary Arts from the University of Tasmania in 2011. Technique Snell creates small production runs, printing each unique work in an edition of one to three. His process begins by capturing a location or an object. He then digitally “decodes” the visual information present in that image. After reducing and simplifying the colors and forms, he begins an intensive “re-coding” process, during which the reduced formal elements of the work evolve their own self-referential relationships within a new composition. This process blurs the boundary between “taking” and “making” a photograph. When the digital composition is complete, Snell converts it into a Chromogenic print using the Fujiflex printing system, which allows luminous, vibrant, colorful photographic printing onto metallic paper. The print is then mounted onto Plexiglass. Blurring the boundaries between photography and painting, Snell merges digital processes with materiality to explore abstraction and minimalism in contemporary photo-media. By stripping images of representational clarity, he allows abstract forms to emerge, engaging the senses and creating new visual languages that bypass traditional narrative. Snell’s work interrogates the evolving nature of photographic production—manipulating and exploiting digital data to invent new visual forms. He examines the shifting relationships between making an