In her works, Tracy Snelling combines sculpture with video, sound, photography and light. The works are the result of the artist’s socio-critical approach to society and the individual and enable participation in exaggerated, fictitious realities in a somewhat voyeuristic way. In Clusterfuck 6, a multi-layered chaos of various issues and cultures can be observed, condensed within a small sculptural space. By attempting to bring order to the overloaded image in visual and multi-media terms, the observer is drawn into a diverse voyage of discovery of simultaneity and opposites.

— Magdalena Koschat

Tracey Snelling’s Cheetah’s shows a strip club which seems to preserve the mysteries of its interior through its banal and shabby façade. Tracey Snelling’s video allows the observer to participate in the erotically charged scenario inside while playing on the charm of what is concealed and on people’s inner curiosity for voyeuristic insight. The seemingly glamorous world seems to represent a stark contrast to the outer appearance and at the same time, is a metaphor for a short foray into the world of fantasy and the subsequent return to the uniformity of everyday life.

— Magdalena Koschat

Tracey Snelling’s spaces are carefully arranged with great attention to detail. They have the appearance of theatre backdrops where the protagonists have a significant presence, despite their absence. ‘Flaghouse Room 2’ is a simulation of the living room of an American racist. The song ‘A Country Boy Can Survive’ can be heard. At the same time, a video can be seen through the window which features content such as weapons and racism, based on various edited clips which brings a political reality to the fictitious presentation.

— Magdalena Koschat