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| Stephen Snoddy, 'Untitled 81', Mixed Media on Paper on Blockboard, 2015 |
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| 'Stephen Snoddy: Recent Work', Artists Workhouse, Studley, Warwickshire, November 2016 |
Snoddy is a Northern Irish
painter in his 50s, who seemingly abandoned his practice, after a promising
start in the 1980s - but has resumed work with considerable vigour in recent
years. I’ll admit that strikes a certain
chord with me, although I can’t claim to have started so confidently, or to
have operated at anything like the same altitudes as Snoddy - during my own
productive hiatus. In fact, he has been employed as the director of the Milton Keynes Gallery, Gateshead's Baltic Centre For Contemporary Art, and latterly - The New Art Gallery, Walsall - all demanding roles, I'm sure. I won’t pretend to
understand how he’s amassed such a substantial body of mature paintings in parallel.
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| Stephen Snoddy, 'Untitled 63', Mixed Media on Paper on Blockboard, 2014 |
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| Stephen Snoddy, 'Untitled 62', Mixed Media on Paper on Blockboard, 2014 |
As it turns out, the
paintings shown in Studley are very much the kind of thing I might have once
aspired to producing during my fumbling student years. Although my concerns have since moved into somewhat
different areas, I can’t imagine a time when I wouldn’t enjoy periodically
bathing my eyes in such formal, colour-saturated painting. Unashamed visual stimulus is king here.
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'Stephen Snoddy: Recent Work', Artist Workhouse, Studley, Warwickshire,
November 2016 |
Enthusiasts of Richard Diebenkorn’s work (as I most definitely am) and of his ‘Ocean Park’ paintings in particular - will recognise distinct stylistic
correspondences in Snoddy’s work.
However, I sense It’s much a case of him arriving at many of the same
solutions to that old Modernist conundrum of reconciling a post-Cubist
understanding of space with the physical picture plane, as it
is of him simply crashing an earlier artist’s act. There’s a sense that he’s arrived at this
mode of largely frontal abstract imagery through his own concerted study of
architectural volumes, and of the relationship between interior and exterior
spaces - just as many others have done before. It all goes to show how there's still an immense thrill to be found in those ambiguous spaces where, as Matisse demonstrated years ago - physical volume and chromatic light become adjuncts of each other.
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| Stephen Snoddy, 'Window 10 (72)', Mixed Media on Paper on Blockboard, 2015 |
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| Stephen Snoddy, 'Untitled 49', Mixed Media on Paper on Blockboard, 2014 |
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| Stephen Snoddy, 'Untitled 4', Mixed Media on Paper on Blockboard, 2013 |
In passing, it’s worth noting
that Snoddy’s paintings often emerge in closely- related pairs, and this
diptych form was reflected in the intelligent hang, - with pairs often talking
to each other across the room. His more
general procedure of allowing motifs and compositional solutions to develop as
a relay between successive pieces, is evident - and this definitely
feels like a concerted and coherent body of work.
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Stephen Snoddy, (L): 'Untitled 35' & (R): 'Untitled 34', Mixed Media on Paper on
Blockboard, 2014 |
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| Stephen Snoddy, 'Untitled 48', Mixed Media on Paper on Blockboard, 2014 |
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| Stephen Snoddy, 'Untitled 1', Mixed Media on Paper on Blockboard, 2013 |
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| 'Stephen Snoddy: Recent Work', Artists Workhouse, Studley, Warwickshire, November 2016 |
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Stephen Snoddy, 'Untitled 103 (After Matisse)', Mixed Media on Paper on
Blockboard, 2015 |
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Stephen Snoddy, 'Untitled 104 (After Matisse)', Mixed Media on Paper on
Blockboard, 2014 |
In fact, study of the
impressive catalogue on sale in the show, suggests that, beyond the obvious
Diebenkorn connections, Snoddy is steeped in many of the ‘right’ painters of the
twentieth century, (of a certain kind).
Amongst those might also be Hans Hoffman, Robert Motherwell, or possibly, Brice Marden. The use of the implied window as a
compositional device, the suffusion of an interior space with colour, and the
dialogue between inside and outside, repeatedly remind us just how important Matisse really was to all this.
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Stephen Snoddy, (From Top): 'Untitled 57', 'Untitled 56', 'Untitled 55', Mixed Media on Paper
on Blockboard, 2014 |
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| Stephen Snoddy, 'Window 1', Mixed Media on Paper on Blockboard, 2014 |
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| Stephen Snoddy, 'Untitled 52', Mixed Media on Paper on Blockboard, 2014 |
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| Stephen Snoddy, 'Untitled 50', Mixed Media on Paper on Blockboard, 2014 |
Whatever the proximity and
degree of Snoddy’s influences, there’s no doubt he’s adept at more than just the
construction of ambiguously architectural geometries and carefully resolved
compositions. He’s also no slouch with
the limpid atmospherics and nebulous brushwork which transform what might be a geometric workout, into something sumptuously nuanced. His use overlaying of semi-transparent veils
of close-toned colour and open brushwork, create the kind of perceptual shimmer
and implied illumination, and repeatedly create a palpable visual ‘hum’.
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| Stephen Snoddy, 'Untitled 21', Mixed Media on Paper on Blockboard, 2014 |
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| Stephen Snoddy, 'Untitled 22', Mixed Media on Paper on Blockboard, 2014 |
All in all, it was enjoyable to immerse myself in the visual pleasure of these paintings - and to remind myself that, sometimes, when all the ideas and potential narratives are set aside - that can be enough. It was also pleasure to catch up with the ever-welcoming Artists Workhouse proprietor, Dawn Harris. I can only hope our extended conversation didn't interrupt her own creative activities too much.
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| Stephen Snoddy, 'Untitled 24', Mixed Media on Paper on Blockboard, 2014 |
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| Stephen Snoddy, 'Untitled 26', Mixed Media on Paper on Blockboard, 2014 |
Sadly, this post comes too late to act as advance notice of the exhibition, which is now finished. However, I'd definitely advise you to take advantage of any future opportunities to view Stephen Snoddy's work 'in the flesh'. Likewise, by staging shows of this calibre, Artist's Workhouse appears to be establishing itself as a must-visit, regional art hot-spot - just a stone's-throw from Birmingham.
