Daniel Schneider - Artist
The austerity in Schneider’s work is reminiscent of the minimalist movement of the 1960s. The pioneers of the era were Donald Judd, Frank Stella, Robert Morris and Carl Andre who created objects which often blurred the boundaries between painting and sculpture, and were characterized by unitary, geometric forms and industrial materials.
Such art historical leaders challenged themselves by making objects that had no metaphorical associations beyond the material. The pieces were fabricated and every trace of the human touch was removed. Similarly, Schneider’s practice is deeply rooted in the material: reclaimed Douglas Fir, Basswood, Ash and other exotic woods. However, Schneider reintroduces his personal touch by repetitively marking and gouging into the surface until the form reaches a perfect state of balance.
Schneider frequently transitions from sculpture to his ink Chandelier Series on Mylar. The common thread is an abstraction through the physical action of drawing, which has crossed over into three-dimensions. His woodcut prints, however, are the intersection of his drawing and sculpture; they define where the two disciplines meet.