The fact that slaughter is a horrifying spectacle must make us take war more seriously, but not provide an excuse for gradually blunting our swords in the name of humanity. Sooner or later someone will come along with a sharp sword and hack off our arms.
Rosie Snell's disquieting landscapes bear the inscriptions of war; military machinery and installations camouflaged, hidden in the tangled foliage; a piece of real estate the spoils. In her visions of post-nuclear pastoral landscapes, military objects have become monoliths, imbued with a quiet calm. Each object for war maybe static but it is at the same time predatory in its environment, the lack of human presence giving them an unnerving autonomy. Their camouflage appropriates the aesthetics of their surroundings, but can also be read as a language of anxiety and falsehoods.
Snell's works are not those of a war artist presenting a social documentation, nor do they convey a particular political point of view. They encompass both the past and the future, examining concealment, disinformation and the physical and psychological impact war has had and continues to exert upon our environment.
Grimelpass, an area of outstanding natural beauty connecting the Rhone Valley and the Haslital in the Swiss Alps is littered with the detritus of war. Hidden bunkers, military dams and gun emplacements all festering beneath the natural idyll.