Meet Jeff Schneider

 

We’re excited to introduce you to the always interesting and insightful Jeff Schneider. We hope you’ll enjoy our conversation with jeff below.

 Jeff, so excited to have you with us today, particularly to get your insight on a topic that comes up constantly in the community – overcoming creative blocks. Any thoughts you can share with us?

Regardless of one’s creative disciplines, be that a writer, a visual artist or a parent preparing a healthy meal for their family, we all have run into those moments of uncertainty in what one is creating or that lack of inspiration to get started.
As a visual artist, specifically a painter, I have had those days where nothing seems to be working while I’m in the studio, but as I’ve gotten older I’ve picked up some tricks along the way to help myself get through those moments.

I try my best to come up with concepts that develop in that place out of one’s comfort zone. I think it was David Bowie who said he was most creative while imagining himself in the deep end of a pool standing on his toes struggling to keep his mouth above water. That idea has stayed with me as I begin a new body of work. I ask myself if this is a fresh idea or story for me to explore and to build upon. It’s not that the story I’m trying to tell isn’t personal, it’s so that the results aren’t formulaic. The work is about discovery for me and ultimately the viewer.

I often break up those uninspired moments by focusing on works on paper or by reworking earlier sketches. They may be related to a current theme or idea I’m working on but not necessarily. I’ve found working on paper is a simple way of embracing the fundamentals. It also helps me take the tasks ahead not too seriously. It’s a way of telling myself, it’s ok to take the pressure off the larger body of work and let the unexpected happen and develop.

In time, all artists have their own history and within that time we all create our own vocabulary, a kind of grab bag of motifs artists can reference. I feel we all can look back and get something accomplished even if it’s something we’ve approached artistically before.

Another aspect of my process which helps me move along a body of work is to work on four or five paintings simultaneously. I’ve found by working on multiple pieces there will usually be that “something” that I respond to, and when things are going well, new responses continue to unfold. It’s not unlike writing a poem, where one line leads to another, which then inspires the next.

As an artist, I’ve always drawn ideas from art history or artists I’ve admired. It’s how we learn. As students we first copy and emulate from the history of art. Living and working in New York City I often take a day and visit museums or galleries to help generate ideas. I will say to myself, “I just want to explore color today” while visiting a gallery, or “I need to focus on composition today.” For me, it’s the tradition in art and creative thinking, to take the most interesting elements of what I’m seeing and thinking about and then apply those elements to push my work forward.

Finally, it’s important to step away from your work and visit other artist studios. Having a cup of coffee and a chat with a peer can confirm or create new ideas. A fresh pair of eyes can always help you see things in a new way.

Thanks, so before we move on maybe you can share a bit more about yourself.

I am a working artist in New York City and my studio is a recently renovated Carriage House originally constructed in 1932, located in Greenpoint, Brooklyn.

Like many young artists moving to New York, I wore many hats to keep my studio doors open. Largely working for other artists as a studio assistant. I was lucky enough to connect with what was dubbed at the time, the Yale class of 1964. After those initial introductions into the studio assistant milieu, I began working with many of the artists from the late 1970’s and early 1980’s- largely connected to John Baldessari’s CalArts Alumni. It was a wonderful learning experience and helped me immensely in developing my art.

As a student, it was one thing to read about an artist or a show in a magazine but then moving to New York and having the opportunity to work directly with certain artists was priceless. In retrospect, music, poetry, and photography have always been starting points for my art and working with established artists not only helped me learn about the NY art world, build connections and friendships, it helped me discover things about myself. Which intern helped and encouraged me to tell my story in my own way.

My work is represented in Europe and in the United States by the Oliver Sears Gallery located in Dublin Ireland. I have exhibited my work in New York and Brooklyn and internationally in Dublin, London, Madrid and Cologne. I am currently working on a show with Mosaic Art Space in Queens, New York

Looking back, what do you think were the three qualities, skills, or areas of knowledge that were most impactful in your journey? What advice do you have for folks who are early in their journey in terms of how they can best develop or improve on these?

The Poet E.B. White once said there were three types of New Yorkers. First, the ones that were born there. Second, those that commute there for work and thirdly, those who come to pursue their dreams. I fall into the third stage.

I believe wherever you are demographically or emotionally, resilience is a must have quality in all walks of life. I think it’s important to believe in what you are doing and not to settle.

Da Vinci said there can be no perfection without flaws and recognizing mistakes or admitting to mistakes is fundamental. And lastly, one should appreciate and cherish the friends that you have gathered on that thin raft called life.

To close, maybe we can chat about your parents and what they did that was particularly impactful for you?

I was very lucky growing up, my parents instilled in me the confidence and belief that I could be or do anything I believed in if I worked hard for it.

Contact Info:

Image Credits

Portrait Photo credit:
Stefan Schaal, Cologne, Germany
Artwork Photo Credit:
Oliver Sears Gallery, Dublin, Ireland

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