Henry Schneiderman
My work depicts specific moments in my personal relationships when they shifted or changed in subtle ways: a connection; a shared struggle; a disclosure; or even a glance or a brushed hand. I’m rooting around in these memories with a question on my lips: What else was there? What possibilities were hinted at in that moment that may or may not have been borne out? My goal is to recoup the potential—the hope—that those moments contained and to allow their possible futures to sit alongside what actually came to pass.

Retrieving past hope is not necessarily an upbeat task—nor even one of recollection. Not all of the memories I re-examine are happy or accurate ones. And not all of my examinations are about folding in optimism. My goal is rather to hold my joy and melancholy in proximity; to fray their edges when I speak them; to understand through their symbiosis that my recollections possess my present.

To call all of what I do printmaking might be surprising to some, but I intend it as a gesture of earnestness: my conceptual framework for making art lies in the material, historical, and theoretical concerns of print media. In my installations, the porous surfaces and shadows of both sculptural figures and their audience thicken like layers of ink on paper. And situated next to traditional prints that repeat their visual textures and compositions, the installations both center printmaking as a theoretical rallying point as well as question the relevance of media specificity. Printmaking, like remembering, is interstitial and ontologically fuzzy—the matrix possessing the print without any deference to sense, certainty, or continuity of time…and almost certainly with a high measure of loss.