Charley Snow

Paintings (17-works)

Charley  Snow Sunny
Sunny, 2016
Oil on canvas
48 x 40 in
Charley  Snow Aime
Aime
Oil on board
12 x 12 in
Charley  Snow Beth
Beth, 2016
Oil on board
20 x 20 in
Charley  Snow Brooklyn Bridge at Night
Brooklyn Bridge at Night
Oil on board
9 x 9 in
Charley  Snow Celeste
Celeste
Oil on canvas
48 x 48 in
Charley  Snow Donna
Donna
Oil on board
12 x 12 in
Charley  Snow Jasmine
Jasmine, 2016
Oil on board
20 x 20 in
Charley  Snow Jersey Girl
Jersey Girl
Oil on canvas
40 x 40 in
Charley  Snow Kali
Kali
Oil on canvas
8 x 8 in
Charley  Snow Lucinda
Lucinda, 2016
Oil on board
20 x 20 in
Charley  Snow Luna
Luna
Oil on canvas
48 x 40 in
Charley  Snow Magic
Magic, 2016
Oil on board
20 x 20 in
Charley  Snow NY Street at Night
NY Street at Night
Oil on board
12 x 12 in
Charley  Snow Nellie
Nellie, 2016
Oil on board
20 x 20 in
Charley  Snow Patty Cake
Patty Cake, 2016
Oil on canvas
48 x 48 in
Charley  Snow Waffles The Cow
Waffles The Cow, 2016
Oil on board
20 x 20 in
Charley  Snow Mishka
Mishka, 2016
Oil on board
20 x 20 in
Sold

Charley  Snow

Charley Snow

Charley Snow Biography

Charley Snow currently lives in Helper, Utah—a small coal-mining town about 100 miles south of Salt Lake City. He earned his BFA from the University of Utah in 1998. Since graduation he has served, as David Dornan’s assistant in addition to painting full time. Charley has paintings in private collections from Massachusetts to California.

Charley Snow Statement

What I like most about painting is the act of interpreting nature. Looking at the landscape and translating what I see into marks on a canvas. When I layer splashes, drips, and strokes of paint to create an image, painting takes on a double life. Both the image and the marks are interesting. That is essentially what painting is about for me—both the abstract and real existing in the same painting.

I learned to paint by working with the figure. When I graduated I had trouble finding models to work with so I started painting cows. They work cheap and they’re almost always available. I soon discovered that every cow had its own personality and gesture. Now I see painting cows like painting portraits. Rather than using cows as icons I try to convey my sense of each particular cow. That kind of focus is the same when I paint houses in the landscape as well. I am struck by the possibility of each house to contain a thousand stories. They take on the appearance of a unique history and I try to capture that feeling.

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