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Photography: Anil Rane

Documentation show:     Mindful Circulations
Location:               Dr Daji Bau Lad City Museum, Mumbai,India
Period:                 June 2nd 2019 – July 14, 2019 

Project title:          Memory in Practice – Breath of Fire
Year:                   2019
Media:                  Video & 2 Scores
Duration of video:      HD video, 7:25 m
Measurements of scores: 110 cm x 40 cm
Material:               Inkjet print on fine art paper, ashes, pencil

The thread connecting the artistic production of Dutch artist Naro Snackey is always her personal identity in motion. Snackey is known for her sculptural installations, including paintings, drawings and archival photography, often taken from her own family archives. Her artistic practice is motivated by the exploration of her personal experience of growing up i a multicultural setting; her parents are of German and Indonesian - Dutch descent, and the family lived in the Netherlands.

For ‘Mindful Circulations', Snackey combines the different artistic media she works with in the new video animation 'Memory in Practice – Breath of Fire'. The multilayered video animation is based on a new series of drawings made with ash and Holi color pigments, scanned images of cultural objects from the Western art historical canon, and images of objects from anthropological collections.

Starting with the idea that cultural objects seen in museums participate in the shaping of a person’s identity, she constructed a meditative sound and image collage in motion. Her own experience of visiting museums like the British Museum in London or the National Museum in Myanmar served as examples of how cultural heritage becomes part of personal memory.

The animated pictures are accompanied by a sound composition. Some sounds are recognizable; we hear the strike of a match, fragments of the first three minutes of Ludwig van Beethoven’s Symphony No. 7 second movement and a recording of the artist’s own breathing, which enhances the meditative character like the breath of fire in yoga practice. Watching 'Memory in Practice – Breath of Fire' feels like traveling in another person’s dream or memory. It is conveyed by a polyphony of ancestral voices and lands like a meditation on the storage of cultural memory.

Next to the video animation, the artist presents two ‘scores’ in the same room as the museum’s showcases. The scores reveal the construction of the video animation and show how the images and splashes of paint appear on and fade from the timeline. She uses the structure of the music score to support her associative visual narrative. Images become musical notes which (dis)appear temporarily. In this way, the images can be invoked schematically, just like written music.

Many thanks to: Dr Daji Bau Lad City Museum Mumbai


2018 - 2019

Brief selection of drawings made with ashes, ink and pencil.

Variable dimensions: 70 x 100 cm 70 x 50 cm, 210 x 150 cm on 300 gram paper.

Developed during Artist in residency in Paris 2018/2019.


Re-envisioning our physical environment.

In our daily lives we can navigate by the red dot on our digital navigating systems embedded in our smartdevices. The red dot on it only shows us and not the other, so now and that there is a digital - physical glitch: than while navigating the streets we bumb into each other...


Observing-navigating through architecture during walks through the city center and suburbs. Engaging with street life, visiting art historical and ethnical museum collections. Then bringing these images back to the confinement of the studio environment using ashes, burnt coal and ink to create images, layer by layer -appearing, disappearing and reappearing. Ashes is used for us to remember that the physical appearance one day will fade away to become something new. - A something new - a cloud of ashes - a void where everything becomes possible again.

The drawings combine several time periods and cultural spaces. Objects from the museum collections are visually adjusted to re-write their stories, their symbolic and material meaning. Futuristic, suburbian architecture from the sixties is combined with objects normally used during rituals for ancestral worship and the human relation to the universe. To open up for a public space that feels more natural and mythical.


Adjusted and simplified images of sculptures and artefacts from public space and collections. Images which can time travel - move easily through cultural dimensions and paradigms? An altered physical environment to activate a physical rememberance of the human body to maybe reset, purify and rewrite it’s memory for more space to experience the collective as a whole ?

Many thanks to:

La Cité internationale des arts, Paris,France.



Project Deuce , 2018


Amsterdam, The Netherlands.

Trailer project: Deuce, 2018,  duration: 4:21 min.


Documentation project: Deuce, 2018.


In this project I worked with the underlying complexity that a bi-cultural background can bring with it. As a starting point I chose two factors that can influence an identity: national commemorative rituals that influence the group identity and the personal identity that is formed by direct personal experiences.

The title Deuce refers to a temporal equality of a group and an individual identity. For me it are factors that are constantly in motion. The title Deuce suggests that it is possible to place these factors against each other, just like in the tennis game, to put them on equal terms so as to freeze the time and to be able to see what they are.


I developed three parts in the installation, a mural, 6 dioramas and 4 enlarged masks.



6 dioramas

My fascination for dioramas is inspired by their irony. During the colonial period, showcases were developed to give the homeland a realistic view of the colonies. I took  over this irony and I made 6 dioramas in which I appointed the discrepancy between collective and personal memories. On the back wall of the dioramas, there are loose painted scenes of national commemorations, an example: the yearly wreath-laying during general commemoration on Dam Square, Amsterdam, NL. On glass plates on the inside of the dioramas are loose associative images painted from more personal worlds for example: objects for ancestor worships, catholic symbols, national historical buildings and also traditional animistic architecture. These are symbols from different cultures which people with a bi-cultural background can carry with them and which are in the process of giving them a natural place in relation to each other. The dioramas are shrouded inside and outside in ashes.


Material: Poplar plywood, ash, glass, sandblasted glass.



4 Masks, a sculptural animation.

I developed a series of 4 sculptures, based on a photograph of an Indonesian-Dutch woman. I transformed a minuscule image from a functional to a ritual form. I changed the portrait in terms of physiognomy in four 'steps' in a face that becomes increasingly abstract. The last portrait refers to an animist tradition in Indonesia. In this way I demonstrate the sculpture as a symbol for the process of returning to her ancestors.


Material: Melt plastic, Ibob paper, paint.




The mural contained an art-historical element in the installation. It is a freely interpreted reproduction of a monumental mural, made in 1901 by the Symbolist painter Thorn Prikker (1868-1932) for a city-residence in Scheveningen (near The Hague, NL) the house was designed by Belgian art Deco architect Henry van de Velde. For this mural, Thorn Prikker was inspired by Indonesian fairy tales. He used geometric patterns in which he inserted the portraits of the residents of the house. I was not only struck by the beauty of this work, but also by the societal impact of the symbolist movement. This arose as a reaction to the progression in those days. In their work, members of the Symbolist movement emphasised the non-sensory perception world and irrational experiences.


With this mural and the enlarged faces, the projectspace Cargo in Context itself became the seventh diorama.


Material: Ash, pencil, gouage, acrylic paint.



Performnce, 2018 

Documentation performance: All the images we have #2, duration 5:22, 2018.

The presence of a human body. Familiar feelings about family images arise while looking

at genealogical websites where descendants of former colonial countries post questions

about their ancestors.

The body as a memory space?, as if it's imprinted with inherited knowledge and

experiences. A performance - a physical encounter an attempt to neutralize the human body and it’s memories.



2005 - 2016