Randie Snow is an assemblage artist based in Pittsburgh, Pennsylvania. Drawing themes from her
everyday life, her work explores the natural balance of the human existence and often strives to find
harmony amongst seemingly contradictory ideas. Influenced by her background as a commercial
graphic designer, Randie’s assemblages integrate a multi-layered visual aesthetic, frequently by
contrasting colors, shapes, and textures.
Individual found objects, both man-made and natural, inspire Randie’s work, each bring a sense of
energy and life lived. They take on emotional, almost human-like qualities that create a collective
voice, ultimately telling the story of their combined experience.
The search for balance inspired many of Randie’s collections, including a series of apothecary jars
(“Through the Looking Glass”) that juxtaposed the semi-scientific “magic” of antique medicine against
the fictional fairytale magic of the Alice in Wonderland story. In “Seeds of Wisdom,” she illustrated the
parallel between the wisdom of human culture and nature’s inherent wisdom by aligning the proverbs
of different cultures with organic materials like seed pods from various plants.
Randie won critical and popular acclaim with her 2008 solo show, “Passages,” at Moxie Dada Gallery in
Pittsburgh. The exhibition used the seven deadly sins and seven saintly virtues of the Catholic faith to
explore the ways an individuals’ choices and actions affect themselves, as well as the world around
them. The same year, she also won Best of Show at the Pittsburgh Technology Council's 15-Minutes
Gallery juried group show.
Her assemblages have been featured in many group exhibitions including the “Showcase G20” exhibit
at the Pittsburgh International Airport, which welcomed international delegates to the 2009 G-20
Conference; the “Pittsburgh Visionary Arts Festival” in Pittsburgh,” Westmoreland Museum's “Juried
Biennial Show,” “Mean Girls,” at SPACE Gallery, “Book” at 709 Penn Gallery, Sweetwater Center for
the Arts, Nutting Gallery in West Virginia, New Kensington Gallery at Penn State, and the Hoyt Center
for the Arts in New Castle, PA
My words are gilded with the colors of nature—from the deepest red of a dried rose petal, the vibrant
chartreuse of newly grown moss, to the shimmering silver of well-worn wood—each hue resonating at
its own frequency, and yet harmoniously blended.
My sentences are embroidered with a tapestry of textures—from the feathery wisps of a milkweed
pod, the cutting edge of rusted metal, to the smooth frailty of a dolls’ bisque head—each filament
twisted or textured, and yet patiently woven.
My paragraphs are composed with a symphony of contours—from the heavily-wired cage, the
translucent glass of an apothecary jar, to the embossed leather-bound books of long ago—each
arrangement in a cappella, and yet dynamically conducted.
These are the symbols of my language and this is how is speak—with sacred relics of the past that
personify hope and despair, become representatives of morality and wisdom, and express emotions of
love and fear.