The WINGS of WITNESS/ UNFINISHED FLIGHT series:
Twelve monumental site specific assemblage installations to date. Aluminum can tabs with rod and wire repurposed into sculptural elements, then assembled over drawn template on plastic sheeting, suspended on wood and mesh armature, or bound onto steel and aluminum grid base. Selected installation images:
WINGS of WITNESS/UNFINISHED FLIGHT history and significance
Sightings and the Politics of Epiphany:
My fascination with the human capacity to attribute consequential meaning to unusual visual experience and extreme natural events, led me to extend this series of 85” high paintings with newly applied, adhered or staged inclusions, akin to Sightings, transforming the originally intended narrative:
Pigment and Earth:
Acrylic, river clay, rain, aerosol and organic material
on flood stained archival paper scrolls, 50 1/8” W x 7’H, 2008-2010
Selections from WRECKTIFY solo exhibition @ H-Art, Peekskill, NY, 2010-2011
My studio, a 200 year old barn overlooking the Hudson, provides hugely inspirational access to nature’s fleeting whims, that I reflect in surfaces of my work. I harvest clay that oozes from River cliffs, and blend this earth with acrylic glazes. I work outdoors in storms on flood stained, heavy weight archival paper scrolls that are impacted by wind, rain and hail as I paint. Rips and tears are often gilded or embellished rather than hidden, based on kinstugi, the Japanese tradition of fusing cracked ceramics with a gold vein, transforming damage to treasure.The chaos of Creation, reclamation, and light emerging from darkness, are themes in these works that are rooted in my own physical and psychological development. As responses to the huge drama of light and weather on the Hudson, they also reference Creation stories across a wide cultural spectrum.
Studies of disintegrating life forms on Pang Pi plant fiber scrolls:
Linear drawings on transparent vinyl over images of a swan struck by a jet ski, snapshots or X-rays. As a way of struggling with bodily issues while recovering from crippling childhood scoliosis, Schrier creates narrative sequences based on the biblical account of the patriach, Jacob, his namesake.