In these pages, scholars explore Snowden's ethos and artistic prerogatives, lending insight into the thoughts and working methods of a foremost master figurative sculptor of the 21st century.
“For over thirty years, Mary Louise Snowden has dedicated herself to the art of sculpture. The Geological Coreium invites us to enter sculpture’s manifold portrait that has at last come to be shaped at the millennium.”
Dr. Guy Westbrook, Author and Arts Commentator
M.L. Snowden’s sculpture collection, THE GEOLOGICAL COREIUM, stands as a unique statement in American and International art. It is a tour de force of sculptural construction and conception that shapes a new plateau for the metallurgical science of lost wax bronze. In Snowden's world, the message of sculpture is fused to its medium. Projecting an expansive and cohesive meditation on the melding of science and art, these works form perhaps the largest body of bronze produced at the millennium.
Coming into an exhibition space, we are able to meet Snowden’s sculptures selected from an extensive oeuvre that encompasses monumental to smaller scale bronze editions. The retrospective showcasing of these works allows us to consider the magnitude of M.L. Snowden’s sculptural program in terms of the scope of the bronzes; the impact and protean vision of these sculptures as seminal works; and above all, as an opportunity to appreciate first hand, Snowden’s engineering genius that draws these works from the theoretical plane into the actual life of being. Indeed, these are sculptures that create physical thresholds that invite us into the conceptual depths of their unique geological perspective underlying their dimensional impact. Above all, THE GEOLOGICAL COREIUM speaks to humankind’s influential presence within and upon the environment.
By nature, the obdurate medium of bronze permits the art of sculpture to endure intact for centuries. In future histories that may seek to identify key hallmarks of the period, THE GEOLOGICAL COREIUM will no doubt pace forward as that body of work that has distilled the Petroleum Age through the lens of a profound artistic insight. While the geological vision began for Snowden decades before present environmentalism reached critical international attention, the impact of evolving science within the sculptor’s lifetime left its mark. Looking back, the program of the COREIUM was advanced early on in the sculptor’s consciousness through a study of geological science that began in the early 70’s; a geological science that propounded an increasing awareness of the Earth and cosmos as living entities subject to the same stasis and life cycles as humankind extending to biological organisms. Indeed, contemporary science confirms what great sculptors of history have known all along: marble, clay, and bronze are living substances. “The geological program is a stepping stone,” comments Snowden. “The heroic possibilities of man; the risks and courage of striving; the fire and passion of creative enterprises; the spiritual force of men as they struggle for the actuation of their plans and work; these horizons are bundled into the sinew of the clay.”
For over two decades in a lifetime immersed in sculpture, Snowden has pursued bronze as an expression of the forces which mold and shape existence. The steps that go into creating bronzes within the foundry setting are seen by Snowden as a microcosm of accelerated processes happening deep within the earth. Within this perspective that continuously unleashes new work, the sculptor has seen the very substances and mediums of sculpture as octaves of geological phenomena, with humankind expressing a naturally occurring biomorphic summary of mass related energy inherent within the earth materials of clay and bronze. Indeed, these dramatic works are maps of exploration into phenomena that accrete and condense the universal forces and elements of creation into evocations of physical substance, humankind, and light.
Read the Vatican Press Telegram Article Here
“Snowden is a genius imbued with a rare sculptural ability; born to it and dedicated to its unfolding.”
A. Hyatt Mayor, Curator Emeritus, Metropolitan Museum of Art
“The recluse sculptor...... working alone.... empowering sculpture that speaks beyond the temporal life devoted to its creation: M.L. Snowden.”
Dr. Daniel Winn, Director, The Fine Arts Foundation