![]() In “You Again”, the image seems to unravel and dissolve into something impermanent, while in “Choose Well”, the approach is more additive, with imagery layered on top of the face and one eye blackened, the color palette descending into fiery orange. In different works, the actress’ face is consistently washed out and hollow, the contrasts of light and dark expanded into a ghosty presence, which the artist then interrupts with a range of techniques. The “Schneider” works seem more steeped in the whorls of feminine fantasy and desire, the seductive visage returning to haunt the artist. The largest work on view turns Carrie into an extended ribbon of jittering repetitions, the paper tumbling from the ceiling in three billowed waterfalls of imagery as the starkly blood-dripped face comes in and out of view, it feels like a mask being tried on again and again, like the artist losing herself in that hypnotically creepy face. The works that feature “Carrie” have an emotional tone of raw, almost uncontrolled aggressiveness, the wide-eyed, gore-covered face of Spacek surrounded by emphatic brushstroke movements or inverted into a hollow replica lost in merging patterns. The two faces, as indirect reflections of the artist, provide the starting point for all of the works in this show, with the familiar likenesses then iteratively broken down and reinterpreted by the artist’s various interventions. Schneider’s new works all revolve around coincidental namesakes of the artist, in this case “Carrie” (in the form of a blood-soaked Sissy Spacek from the 1976 Brian De Palma horror film of the same name) and “Schneider” (in the form of the Austrian actress Romy Schneider, as seen in a close up from the 1974 film “The Most Important Thing: Love”). Inside the camera, Schneider layers and overlaps images using multiple exposures, her taped alignments fully visible in the final prints then in the darkroom, chemical washes and drips (in multiple physical directions) add to the feeling of chance gesture and image dissolution, the colors wandering from intensely dense and thick flared masses to softer fogs and splattery textured mists. ![]() ![]() ![]() ![]() How is she making these brash image objects? Schneider has been crafting these kinds of chromogenic works for nearly a decade, with each new project leveraging an even larger custom built large format camera to enable the expansion of her visual experiments her previous series Deep Like (from 2020-2021) employed a camera that could hold 24×30 inch rolls of paper, and her new works are now even larger, nearly twice the width in some cases. As though peering into a cracked mirror, she builds up allusive representations of herself (or someone more abstracted), her layered constructions filled with faces that dissolve into expressively dripping disarray.Īn initial encounter with Schneider’s bold works, with their seething colors, watery washes, and torn edges, inevitably pushes toward questions of process. Comments/Context: Carrie Schneider’s new works are rooted in an impulse toward obsessive self observation, the kind where the repetitive looking never quite coalesces, ultimately leading to a breakdown of recognizability. ![]()
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