Gradients
from Post Asemic Press!
“Snodgrass’s Gradients is a haunting series of visual poems, examining the relationships between images and ideologies, particularly the misogynistic currents in American commercial discourse and its depictions of femininity. Asemic poems, written or tattooed directly onto the poet’s body, are photographed and then transformed by the poet through glitching. The resulting “Gradients” allow perversely fascinating visions of societal structures that emerge from obliterations of the female form. The reader is at once reminded of the ideological implications of any image, so often and so easily overlooked and accepted, as well as the role of the viewer in creating the real world affects of these implications. It is an astonishing book!” —Andrew Brenza
LOOM
The best of these images makes me think of what would have happened if Dali and Warhol had a child and that child grew up to glitch like a rock star. Snodgrass and Rae deconstruct classic album covers to bring attention to the old constructs of feminine objectivity to make new and stunning art pieces. The line becomes the medium and message. Powerful and thought-provoking. —Virgil Suarez
In LOOM, Kristine Snodgrass and Collin J. Rae turn the machine against itself, peeling back modernity’s formaldehyde flesh to reveal something far more sinister and seductive. These delirious decompositions stutter and sputter, glitch/kitsch tea leaves for lost futures. —Joy Ray
Godlessness
Godlessness takes the participant on a journey through the heart and bones of uninhabited structures in an unknown place and time where you don't know the language, the culture, or it's people yet found within every space explored are the stories of past lives and of those yet to be lived and it all feels distinctly like they could be your own. —Kerri Pullo
Neon Galax
Glitched collabs from Andrew Brenza and Kristine Snodgrass find a neon outlet in the merging of vispo and digital alteration. This striking book features color-saturated work that enlivens the structural bombast inherent in Brenza and Snodgrass's stark visual poetry. What is glitched is not superceded nor muted, rather transformed in a true collaborative spirit.
RANK
There are faults in human systems. Glitches if you like. They may be slips in relationships, errors in decisions, miscalculations, or just plain rank and file disturbances that swing us on uncontrolled zip lines through emotional jungles without a machete. Places, faces, and text are flattened into technologically veiled images. Emotions are flat-lined, yet glaring color makes us all too aware of the impossibility of remaining in a no-mans-land of unfeeling. Kristine exposes her insides - on the outside, and the mediation by machine cannot hide an inner turmoil or a heart that longs to escape the confines of imposed passions. Words used in the art of digitally produced images are terms such as expose, bleed, resolution, tracing, crop, perspective, layer – all these expressions apply to the artist behind these melded images and text, who re-presents in a circuitous format some of the greatest questions of all – is THIS what it feels like to be human? Will today always feel like THIS? Stretched, duplicated, misunderstood, colored in, erased out, redefined. Overexposed, double exposure, repeat. Just Exposed. Cropped, glaring, and re-framed, Kristine tells us in intimate terms that the inner journeys she traverses are universal yet personal, all unique yet belonging to a common collective. We were, never so different after all - you, and you and I. —Cheryl Penn
American Apparell
American Apparell is a collection that demands numerous revisits. Each portrait feels like a creed, a collective of fists already held up high. This pulsating kaleidoscopic visual representation of modern feminism revitalizes female independence and identity, challenging the reader not to accept archaic ideas churned out by society but instead to consent to the total disintegration of conformity. Beauty blooms in the wake of necessary destruction. —Johann Van Der Walt
Whistle
The first in the Asemic Front Series curated by De Villo Sloan, this is a book of collaborative visual poetry and asemic writing (writing without meaning) that explores communication, gender, and power. Over 50 images by Kristine Snodgrass and De Villo Sloan and an introduction by De Villo Sloan.
ICON
Artist Statement: My ICON series of glitched self-portraits works to dismantle the image-makers and fame-generators created by social media modalities. The nature of an icon resides in some form that is played to consciousness. There are questions there. What the building of this phenomenon is--a rendering. My work in this series dives into false propositions and re-examines, like in some of my other glitch-work, the constructive placements and their destruction. Working with phone apps, my glitches tend to be an erotic experience with digital essences. The movement of my flesh on the screen and the anticipation of what will come of it. There is eroticism in all my work--but ICON maintains the erotic interface between reader and creator--even after the seeming destruction. A liveliness, even if in the shadows, persists. For me, glitching is dismantling and creating. How those exist together is the mystery, the art moment. —Kristine Snodgrass