One World | Luke Schneider

For these 9 works, MDF panels were built similar to a plinth for displaying a sculpture. After priming the panels, architectural ink painting acts as a cue for memory recollection – architectural cues of large exhibition centers, blue chip galleries and iconic museums.  Something I did not see for a long time due to new isolation. From that point the spaces are populated with memories, personal interpretations, and fantasies. Tyvek, plastic wrap, used cutter blades, old post it notes, nylon wall anchor, toggle bolts, screws, neon sign acrylic mounts, used pencils and brass j-hooks are some materials epoxied onto the works. If you look closely enough you can find tape preferences, useful installation instructions and Cam Xanh’s favorite bean bag.

Due to the pandemic I was no longer able to go about life in the normal way that I had. It caused me to be more reflective on the past. Often, I work as an art technician and due to the pandemic several jobs that I had lined up were cancelled. Therefore, I was removed from a very common setting for myself, the gallery, museum or art fair format. It is something that I really enjoy, to be in this kind of high intensity environment, with limited time to make a exhibition happen, all while maintaining positive relations with fellow technicians, artists, gallery interns, directors, security, curators and even the cleaning crew. Being removed from this for some time, almost isolated, I took to reflecting on past exhibitions that I had installed.

The pandemic did change my initial project because I was about to do a series where I recall and paint the same space (a home I lived in) over and over, intentionally creating false memory within this recall process. Fellow artist Cam Xanh had seen some of these works and suggested I explore previous installations I had done at galleries as a technician. This was the perfect suggestion and there was no better time to do this work since I was so removed from the art installation setting because of the coronavirus.

During the lockdown, I did things that I would normally do to make life easier, like enjoying the company of new friends at A. Farm, Iggy, Saverio, Cian, Trang, Phi Long and Hao Pei. Having coffee under the terrace roof together while welcoming a violent rainy season downpour. Discussing ideas for presentation techniques while the smell of sawdust and paint fill the humid workshop air.  

Luke Schneider, based in Vietnam, (b. usa, 1988) grew up in America, Hungary, and Japan. He studied film and studio art at a liberal arts university in South Florida. Abandoning the prospect of the film industry, he moved into his first studio (primarily focused on oil painting large hand build wood panels) a couple years after graduation and also began working as an art technician. This path of work has allowed the exploration of the materiality of various artworks at install jobs in Miami, Hong Kong, Shanghai, Beijing, Saigon, and New York. His work is based on spacial memory recollection…memories, personal interpretations and fantasies.
 
Luke Schneider is a member of the MoT+++ collective