BIO
b.1991, Montreal
Angela Snieder (she/her) is an artist and educator living between Hamilton and Katarokwi-Kingston. She grew up in Sarnia and has since lived and worked across Canada in Ontario, British-Columbia and Alberta. She is a settler of Dutch descent; her family having emigrated from the Netherlands to Canada in the late 1950s. She holds a Master of Fine Arts in Printmaking from the University of Alberta and a Bachelor of Fine Arts from York University. Through copper etching, photopolymer gravure and lens-based installation, her work explores the act of looking and its transformative potential, considering the role of attentive perception in shaping our sense of empathy and connection with our environment. She has exhibited nationally and internationally, including solo exhibitions in Victoria, Edmonton, Calgary and Winnipeg, and group exhibitions at sites across Canada, and in Poland, China, Egypt, USA, Russia and Finland. Her most recent exhibition MISTAKEN POINT (Hoopla Gallery & Press, Kingston, 2024) featured an ongoing print-based collaborative project with Morgan Wedderspoon. Angela has taught art in university and non-profit community settings and is currently a Consecutive Teacher Candidate in secondary Visual Arts and French at Queen’s University (graduating in August 2024).
website: http://www.angelasnieder.com/
instagram: @angelasnieder
Etsy: AngelaSniederPrint
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Artist Statement
How can we think about the relationship between physical and psychological spaces? My creative practice explores the possibility that the intersection of the two can foster deeply contemplative experiences and enable attentive and empathetic consideration of our relationship with the world. Working in lens-based print media and installation, I make use of the mimetic qualities inherent to photography, with the hope of drawing attention not only to the photograph’s capacity for deception, but also to the duplicitous nature of perception and memory. Since their invention, photographic impressions have held an evidentiary power due to their indexical relationship with the physical world. Using the diorama as a creative device, I construct spaces that play with this implicit sense of trust. The resulting printed and projected images reference built structures, but exist in a state of transformation, as if being reclaimed by natural materials and processes. These dream-like scenes serve to explore an ‘in-betweenness’; spaces of both protection and entrapment, of natural and built, of fascination and fear. They are settings in which something is on the verge of taking place.
How can we think about the relationship between physical and psychological spaces? My creative practice explores the possibility that the intersection of the two can foster deeply contemplative experiences and enable attentive and empathetic consideration of our relationship with the world. Working in lens-based print media and installation, I make use of the mimetic qualities inherent to photography, with the hope of drawing attention not only to the photograph’s capacity for deception, but also to the duplicitous nature of perception and memory. Since their invention, photographic impressions have held an evidentiary power due to their indexical relationship with the physical world. Using the diorama as a creative device, I construct spaces that play with this implicit sense of trust. The resulting printed and projected images reference built structures, but exist in a state of transformation, as if being reclaimed by natural materials and processes. These dream-like scenes serve to explore an ‘in-betweenness’; spaces of both protection and entrapment, of natural and built, of fascination and fear. They are settings in which something is on the verge of taking place.