Sean Snyder’s ‘Aurora Borealis’ offers insight into the ways in which images and structures materialise themselves. With an array of disciplines and artistic movements at hand, our appreciation and understanding of complex images or techniques is often diluted by the influence of art history and art theory. As a result, our experiences of the image are heavily contextualised in its structure. Snyder’s observations of the structural similarities between different practices—for example, the act of weaving and electronics—opens viewers to the space of installations in which the structure and surrounding theory is abandoned and we are left with only the image itself.
In the age of electronic networks, replicas overtake traditional practices; the mobile phone represents communication and the computer signifies writing and design. Snyder considers these technological advances as a part of the ‘art of deception’ in which we, as observers, have become accustomed to a series of ‘trompe l‘oeil effects’. If contemporary imagery overwhelms viewers with coded and interconnected information, then the relationship between an image and the surrounding structure becomes all the more prevalent.
‘Aurora Borealis’ in that sense delivers abstract images whose only sensory connection is through colour, tone and space. Each image exists not in our senses but in an underground world of communication and transportation untouched by outside structures and influences.