MUCH like how The
Sea grapples with
the way the mind
interprets mem-ories,
Snyman is
exploring his own interpretations
of scenes that hold a subjective
meaning to artist and viewer. His
paintings often depict foggy atmo-spheres
where a body of water
acts as a mirror to the sky. Even the
moodiest sprawling scenes allow
precedence of time over place, like
Between Earth and Sky inspired by
the Banville quote, “At the seaside
all is narrow horizontals, the world
reduced to a few long straight lines
pressed between earth and sky.”
“I grew up by the ocean and have
spent a lot of time sitting on the
beach and staring at the waves or
tides. I’ve always enjoyed it and in a
sense was trying to replicate that,”
he says. “To me, it’s like a mood. I
think eventually my paintings will
get more abstract. Mark Rothko
played on that whole notion of color
influencing mood, the concept of
a piece of art that looks simple but
when you really look at it and think
about it, it’s not.”
While Rothko is best known for
his use of vivid colors, Snyman
takes the opposite route, utilizing a
neutral palette that he finds more
challenging than traditional sunset
tones. He mixes mostly grays, blues,
and what he calls a “secret sauce”
for complex shades. Ironically, his
personal favorite, Whispering Waves,
possesses splashes of pastel pink
and warm golds one might see after
sunset or just before sunrise.
It’s not always sea and sky,
though. Heaven Is The Place We
Know was a commissioned work
that takes a more landscape style,
with green-drenched cliffs and radi-ant
hues of blue inspired by his time
in Los Angeles and nearby Palos
Verdes Cove. It wasn’t just the land-scape
where he found assistance,
but also from a former art mentor
who encouraged his specific sea-scape
style, leading to a 2018 solo
show, Ephemeral.
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