“Snowden’s bronzes exult air and life.”


Snowden’s Atmosphere expresses the substantive qualities of air that interact as velocity forces and as nurturing systems upon earthly matter. The Atmosphere of the Geological Coreium communicates a charged and cohesive vision, where the collection breathes from the sky into the circuits of humankind, becoming airborne again.

Ventifact I (Striver)

Ventifact races the wind. Snowden’s bronze excels upon the geologic term for a landform shaped by windblown sand. Yet as one of Snowden’s earliest works, Ventifact strides forward freed from surrounding forms of impaction as the sculptor pinions the bronze on its base as a pure embodiment of the rising wind. As an early essay into expanded cognates, Ventifact’s embodiment of racing air reaching skyward lends itself to larger humanitarian interpretations that include striving toward excellence.

Ventifact II

Ventifact’s profile rises skyward like smoke.  An imaginative stele, Snowden’s Ventifact creates a meditation on the power of energetic forces to sculpt the environment. Through spiraling lines of subtractive handwork, Snowden forms a slender shaft that evokes the polishing action of wind driven sand. Such ventifacts are found the world over, from the mushroom rocks of the White Desert National Park in Egypt to the Altiplano area in Bolivia. In appraising Ventifact II’s subtractive carved nature, the work appears as a spiritual icon of loss. In this context and inscribed with commemorative text, the work is considered a hallmark memorial among families of 911. In this work, atmospheric erosion is conceived through a humanitarian lens, wherein the artist and sculptural object merge into an interrelated and timeless artifact.

The Combinant Helix X and Y

Creation streams circling heavenward in the Combinant Helix X and Y. In this bronze that weighs upon the fluid dynamics of vortex formation, Snowden’s sculptural conception first began life as an evocation of the atmospheric tornado. Enclosing meteoric as well as cutting-edge transposable genetic meditations, M.L. Snowden’s perceptual depth has lent unique plateaus of intellectual design to the heart of the bronze. In a noteworthy leap of artistic foresight dictated by the integrated demands of structure relating to metallurgy, Snowden first designed the Helix X and Y at the precise scale ratio differentiation of the X and Y chromosomes before they were characterized to the general public.

The Helix X

The Helix X boldly ascends on a rising line. Causal linkage builds in Snowden’s work that gives rise to generations built upon the genome. Indeed, the figural summaries of the work appear to support one another, conceptually contributing to the evolution of humanitarian structure. From spiral galaxies to sunspots, from hurricanes to smoke rings, from whirlpools to the Helix, the cyclonical motion of a property swirling rapidly around a center is conveyed in all its drama in this sculptural formation that is reverberated across the cosmos.

The Helix Y

The Helix Y penetrates the veil of physical phenomena in the intense arcing rise of the genome. Ascending as a spiral in a feat of metallurgical foundering, the almost one-ton weight of the Helix Y is entirely supported on the one-inch ankle of its base figural icon. In a bronze completed within the last two weeks of the final mapping stages of the Human Genome Project, Snowden’s sculpture has come to the forefront as the premier monumental statement formed at the millennium. Mounted in separate and combined installations, the Helix X and Y has been installed in the permanent collection of the international headquarters of Genzyme; the world’s leading research institute for rare genetic disorders situated between Harvard and MIT.


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