#paul snell

[jadonulrich]

Paul Snell Bleed # 202388, 2023 Chromogenic Print Face-mounted 3mm Matte Plexiglass 31 1/2 × 23 3/5 × 3 1/10 in

[oculablog]

Paul Snell, Bleed # 202012 (2020). Chromogenic Print Face-mounted 3mm Matte Plexiglas, backed with extruded polystyrene, concrete, acrylic, enamel and pigments, Edition of 3. Courtesy Gallery 9.

[abstracteddistractions]

Paul Snell, “Chromophilia # 201701,”

Chromogenic Print Face-mounted 4.5mm Plexiglas,

H 29.53 in. x W 108.27 in. (H 75 cm x W 275 cm)

[jareckiworld]

Paul Snell  -  Pulse # 201603   (lambda print face-mounted to 6mm plexiglas, 2016)

[jadonulrich]

Paul Snell Bleed # 202198 (Abstract Photography), 2021 Chromogenic Print Face-mounted 3mm Matte Plexiglas 70 9/10 × 45 3/10 in

[jareckiworld]

Paul Snell  -  Pulse #201021   (lambda print face-mounted to 6mm plexiglas, 2010)

[jareckiworld]

Paul Snell  -  Pulse #201711   (lambda print face-mounted to 6mm plexiglas & backed with 30mm beveled ply, 2017)

[bandcampsnoop]

3/26/21.

One doesn’t expect to find the NEXT BIG AUSTRALIAN thing in the form of a 60-something record store owner.  Paul Snell owns a record shop in Newcastle, Australia, and these two songs have been released by Altered States Tapes.  It is clear that the label owner has known and respected Paul Snell for his entire life.

These songs are so good.  I love the ramshackle, bedroom/DIY feel here - these songs were recorded at least a decade ago during a period of mourning for Snell.

This recalls the heartfelt work of Lachlan Denton after the passing of his brother, Zac.  “Come Monday” sounds like a demo for The Go-Betweens.  It’s that good.