Documenting his life through a lens, Snow’s photographs explore personal existence as a periphery to globalised culture. Presenting an unabridged account of his marginalised lifestyle, Snow’s often uncomfortable images paint an intimate portrait where topical issues such as sex, drugs, poverty, and anti-social behaviour are confronted from a frank position of personal participation. Translated through the generic quality of his medium, Snow’s photos convey the disoriented fragments of memory as voyeuristic observation, conceiving the experience of ‘self’ as a bi-product of mass media dissociation.

Picturing the underbelly of contemporary culture, Snow distances his images with cinematic veritas. Graffiti, ironically broken signage, seedy hotel sex romps, and instances of human despair don’t evoke empathy, but rather suggest a poetic affirmation of humanity and against-the-odds survivalism.

Dash Snow’s Untitled (Thong) reworks imagery of porn, violence, and glamour into a totem of faded power. Recalling the optimistic ideology of Suprematist design, Snow’s collage presents a futuristic icon from degenerate emblems. Mounted on a mundane wall paper background, photocopied snippets of syringes, gems, rodents, machine parts and bottoms merge as an abstracted cyborg figure, an unsavoury goddess of underclass bravura. Read Entire Article of Dash Snow at the saatchi-gallery