Nicole Schneider

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Bio

Nicole Schneider received her BFA in Printmaking from Kent State University in 2007 and went on to receive a Masters of Fine Art in Printmaking from Kent State University in 2012. While in graduate school, she was awarded an assistantship with the School of Art Galleries and worked as the Assistant to the Director of the School of Art Galleries for two years.
From 2008-2015 she worked in various capacities for Zygote Press, Inc., a non-profit printmaking organization in Cleveland, Ohio, including serving as Gallery Director, instructing classes, and printing editions with Ink House. She also served on the installation crews at MOCA Cleveland, the Akron Art Museum, and the Transformer Station.

Nicole currently makes work out of her home studio in Lakewood, Ohio.

Statement

While I have long been interested in developmental and behavioral psychology and creating abstract landscapes of the mind, my most recent work is inspired by my evolving roles as artist, wife, mother, and experiencing first-hand the task of socializing a toddler, or teaching one to “color inside the lines.” This work employs overlapping gestural marks and blocks of color to explore relationships between order [thinking] and chaos [feeling] pertaining to human consciousness and behavior.

Each piece is an accumulation of thought and action, a dialogue between looking, thinking, acting and reacting, in intuitive response to the previous decisions I have made. I begin with a single act on the page, often a gestural relief lift drawing or intentionally imperfect drag of a silkscreen flood. A set of formal elements collected and constructed from the environment around me, such as fabrics, cardboard, and window screen mesh are used to print in relief. Gestural marks made in my sketchbook are enlarged and burned to a silkscreen. Paint smears and spray-paint drips are transferred to silkscreen. These expressive, naturally occurring, indexical, and gestural marks are then paired with precise, orderly, restrained, hard-edge geometric shapes. Often these geometric shapes interrupt the gestural marks by way of a block-out stencil. Other times, the geometric shapes overprint and obscure the gestural marks beneath. The interplay and repetition of these opposing formal elements creates a visual dialog that mimics the way the brain gathers, organizes, and prioritizes information.

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