Interview with SNAR
Snar, 2022
SNAR is a Dutch artist based in Wapse (NL), active in the art scene from the early 2000’s. He is known for his unique style that he defines as “graphic abstract expressionism” meaning an explosion of thoughts, images and colours with graphic elements although SNAR is colour blind.
After a hiatus of 15 years, SNAR emerges with a body of new artworks that marks a significant shift in his practice: he has undergone a transformative journey that has led him to explore new realms of creativity. We asked him about the stories behind his inspiration, the creative process and future projects.
Vroom & Varossieau is extremely pleased to present "Guess Who’s Back,"a remarkable exhibition featuring the latest works by artist SNAR opening on Saturday September 16th, in our gallery. RSVP to gallery@vroomandvarossieau.com
Hello Snar! How are you and how does it feel to be back in a gallery space after 15 years?
S: Quite honestly, until a couple of months ago I never would have expected to be back at all. I thought painting was something of the past. Something I did when I was younger. But to my surprise and joy, the painting is not yet done. Not by a longshot. So, to answer your question, it feels absolutely amazing to be given this chance; to show my new work at a venue as beautiful as Vroom&Varossieau. It is kind of like I found something I lost a long time ago. Something very precious. Something I missed more than I thought.
Where does your inspiration come from?
S: That question again. I have trouble answering that, because my inspiration comes from deep within, from a place that is always on, that is always working on what to do with a painting, while at the same time it comes from simply doing the work; just painting and letting the moment dictate my actions.
Having said that, lately I also get inspired by an unfinished piece. A piece that I’ve put away for some time, and then, suddenly, when I see it again, it all clicks and I do what I have to do: paint and write and draw and fill that canvas.
I also used to have heroes who inspired me, but nowadays I just try to do my own thing. Even though the influences of the old heroes have a bit part in the outcome, they are not as visible as before.
You studied at the Royal Academy of Arts in the Hague, during the early 2000’. What do you bring with you from this experience? How do you combine it with your present artistic practice?
S: I didn’t really bring that much with me from my time at the academy. From the moment I realised a lot of the teachers were merely struggling artists who couldn’t make it in the art world, I lost my respect and simultaneously my drive to learn anything from them. So, I don’t use anything they tried to teach me in my present, and maybe shortly, revived artistic practice.
Plenty of established artists as Claude Monet, Neil Harbisson, Daniel Arsham are colourblind. You have comfortably spoken about it in different occasions and in your works there are many colours. How do you do that? Can you describe your colourblindness?
S: I wish I could, but it is just something I have and doesn’t restrain me artistically. There is nothing to describe really, it just is what but is.
The fact that I am colourblind probably keeps the fear of using the wrong colours at bay. It gives me the freedom to mix it up, to dare things other artists might be a bit hesitant towards. I like that about it. A teacher at the academy, one I did respect, said it bordered on geniality, because somehow I mixed colours that could not be mixed but made it work anyway. He never saw that before. I don’t know if hat is true, but it made me feel better about this colourblind thing.
I do mind that I never get to experience my own work the way you do: in its truest colours. That kinda sucks, but besides that, I accept it, because I believe it gives me a certain edge, a certain authenticity even. At least I hope…
SNAR, Token,90 x 90 cm, Mixed technique on canvas, 2023
A few years ago, you left the noises of Amsterdam and moved to the countryside. How does the natural environment influence your art and creative processes?
S: It is amazing. If I’d stay in Amsterdam, I would never have painted again. Too many bad memories and bad lifestyle temptations. Here, the openness, the feeling of freedom, the splendour of nature, the healthy lifestyle I lead, my beautiful family and the intricate quietness all add up to me painting again. There are no negative distractions, no pressure; there is just me doing what I love whenever I feel like doing it.
I mean, I can go for a walk in the woods and not meet a single soul for two hours straight. That gives me time to think, to refuel and come back home renewed. It is hard to describe, but it is what gives me the drive to paint again.
With regards to your new body of works, you recently stated ‘These paintings were not created in a whirl of rabid and stupid intoxication (…)’ What do you mean and what can visitors expect from your upcoming exhibition?
S: When I painted in the old days, I was more than often coked out of my head. Or halfway drunk. That does bad things to your judgment considering the decisions you make with a painting. I used to lose myself in something that I thought were strokes of genius, but when I sobered up, the work was often just crap. Not always, but often.
The new work lacks any form of sidetracking, of being too much, too maniacal. It is vivid, impactful, sound and more importantly, mature. And now, when I struggle with a piece, I leave it, I stop painting. Earlier, I just went on and on and on, unable to get the overview, losing myself in the work and the high and in doing so, destroying it. I had no control. Not over myself, nor over the work I was creating. Now I do, and the work I have created is a perfect refection of that. No matter how chaotic some of the works ma seem, I have never lost control over the process and henceforth the final result. That, in some way, is very liberating.
Do you have a dream project?
S: Well, I guess I have a couple. I’m currently writing a novel about my life as an artist in Amsterdam and the reasons I got so out of control. That is kind of like a dream project. But also very confrontational. Sometimes it feels like EMDR without the healing part.
Furthermore, I’m making a short film in October with two friends from Leeuwarden. A film that I wrote and will art direct. I just love film as a medium; telling a story like that. So, that is another dream project.
And I hope that I can keep up the painting. That the muse will remain with me and keep me inspired.
My life is very good at the moment. I have an amazing girlfriend and two amazing sons. It may sound corny as fuck, but I consider our family-life now, my truest dream project.