Sean Snyder

Sean Snyder takes the global circulation of data as the raw materials for his practice. He experiments with multi-layered signs revealing unexpected layers in an intentionally non-pedagogical way. Refusing to conform to conventions, his practice avoids simple classification. In resistance to contemporary art's tendency to aspire to a mechanized consumer society, his investigations parody and mirror their processes. Bypassing conventions, the artist's practice encodes information using an unpredictable matrix. Anatomically ordering preconceptions, his installations deconstruct assumptions that might be attributed to a topic. Interrogating representation, the nebulous investigations, occasionally come into clear focus oscillating between fact and fiction. What might seemingly be intelligible, might turn out to be far more complex. Conversely, what may apparently be complex, might unravel in multi-farious, yet simple and uncomplicated ways. Researching algorithms and unknowns, his practice dissects the aleatoric use of databanks and publicly attainable information, producing unexpected (and subjectively) interconnections between memory and materiality. Via a deconstruction and reconfiguration of components, he elucidates hypotheticals from incongruent perspectives.

Sean Snyder was born in Virginia Beach, USA and now lives and works in Berlin, Germany. Recent solo exhibitions include Galerie Neu, Berlin, Germany (2017); 'Eye of the Huracán', Schloss, Norway (2016); 'Aspect Ratio / Dispositif', Galerie Chantal Crousel, Paris, France (2016); ‘Re-convergence (Algorithmic Archaeology)’, Document, Chicago, IL, USA (2015); 'No Apocalypse. Not Now’, Kölnischer Kunstverein, Cologne, Germany (2013); Artists Space, New York, NY, USA (2010); 'The Real War', Israeli Centre for Digital Art, Holon, Israel (2010) and 'Index', Institute for Contemporary Arts, London, UK (2009). Snyder has recently participated in group exhibitions at Bonniers Konsthall, Stockholm, Sweden (2017); ZKM, Karlsruhe, Germany (2016); Witte de With Center forContemporary Art, Rotterdam, The Netherlands (2015); Nam Juin Paik Center, Seoul, Korea (2015); Barbican Art Gallery, London, UK (2014); Irish Musuem of Modern Art, Dublin, Ireland (2013); and Museum of Contemporary Art, Detroit, MI, USA (2013).

His current enquiries can be followed here.

Sean Snyder
Cloud Sediment (Gstaad)

2016
7 minutes 47 seconds, b/w and color, HD video, 16:9 format

Sean Snyder
Cloud Sediment (Gstaad)

2016
7 minutes 47 seconds, b/w and color, HD video, 16:9 format

Sean Snyder
Cloud Sediment (Gstaad)

2016
7 minutes 47 seconds, b/w and color, HD video, 16:9 format

Sean Snyder
Algorithmic Sketches

2016
15 b/w archival pigment prints on matte paper, 30 x 45 cm mounted on aluminium, installed on a wall painted RAL 7047 (installation view) 360 x 235 cm Photo: Florian Kleinefenn

Sean Snyder
Reconstruction

2016
5 b/w archival pigment prints on matte paper, 51.75 cm x 69 cm, 1 cm black aluminium frame, installed on wall painted RAL 9017, 229 cm x 400 cm (installation view) Photo: Florian Kleinefenn

Sean Snyder
Fukushima Daiichi (November 15, 2009)

2016
b/w archival pigment print on matte paper, 159 x 119.25 cm mounted on 3 mm aluminum

Sean Snyder
Aspect Ratio (Vanishing Point)

2015-2016
15 b/w archival pigment prints on matte paper, various formats, 1 cm black aluminum frames, hung on 3 m high x 4 m length wall painted RAL 9017 (installation view) Photo: Florian Kleinefenn

Sean Snyder
Tableau Bateau

2015-2016
Random loop played on hacked Sony XPERIA Ultra, duration variable. Installed on RAL 9003 PVC structure

Sean Snyder
Tableau Bateau

2015-2016
Random loop played on hacked Sony XPERIA Ultra, duration variable. Installed on RAL 9003 PVC structure

Sean Snyder
Tableau Bateau

2015-2016
Random loop played on hacked Sony XPERIA Ultra, duration variable. Installed on RAL 9003 PVC structure

Sean Snyder
Tableau Bateau

2015-2016
Random loop played on hacked Sony XPERIA Ultra, duration variable. Installed on RAL 9003 PVC structure

Sean Snyder
Vertical Traces

2015-2016
hd data, 1 minute 20 seconds, lcd projection unadaltered Google Earth and Bing search engine views of the location of Watch The Doors, Please! (1980) by Daniel Buren, produced by the Art Institute Of Chicago in cooperation with METRA (Chicago Urban Transport). Photo: Aron Gent