In Dash Snow’s Untitled, three photographs are arranged in vertical succession, creating a loose narrative in their film strip composition. Intentionally ambiguous, his blurred and cropped images simulate intoxicated perception, encapsulating seedy late night ambience with fragmented distortion. Shot from an obscure floor-level angle, Snow places the viewer in the position of the paralytic; his obscure glimpses of pub life transform the benign into hallucinatory visions of the bizarre and grotesque.

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