After his remarkably accomplished art-school work in the 1950s Snee went through a long period of experiment and discovery in the 1960s and early '70s, until in the 1980s and '90s he seemed to find his voice and settled into a prolific period of mature abstract painting.
It was not an entirely straight path: he never stopped exploring, taking detours away from his main route, trying out new ideas and techniques, dropping some of them, and incorporating others into his core practice. He worked continuously, often on batches of similar pictures at the same time. Other canvases took him many years to complete. Now and again he seemed to clear his mind by working on something completely new.
Gordon Snee's writings reveal that he shared the outlook of the early abstract expressionists, particularly admiring Kandinsky, Picasso, Klee, Malevich, Walter Gropius and the Bauhaus. He drew on cubism, vorticism, and constructivism.
Snee absorbed the work of his predecessors, and then spent many years experimenting, always with discipline, clarity and richness.
From the outset, Snee's work was dense in form and colour, with a vigorous intensity of movement. As he explored the methods of abstraction, his work grew more confident, more dynamic, until eventually he developed his own unique idiom: a language of abstraction based on natural forms.
We have called this Natural Abstraction.