My work is based on self exploration and historical archaeology. Autobiographical references are blended with contemporary and historical photographs to arrive at a recognizable universality. I use non-sequential relationships, separating cause from effect in order to deal with clusters of thoughts and ideas, rather than presenting linear narratives.

Delicately drawn figures of animals and objects are layered over expressive, sometimes violent brushstrokes. Elements of duality are found throughout the paintings. I play with seeming opposites, some of which are readily apparent, some obscure. For example, the opposite of abstract expressionism might be a delicate line drawing to offset the original bravado of the brushstroke. I'm constantly Looking for imagery or styles of painting that seem to oppose the last image or style. The use of push-pull dynamics and the occasional use of illusionistic perspective against raw expressionistic brushwork gives the impression of being able to look deep into the canvas only to be thrust back to the surface.

The work deals with the role of the artist as well as with the subject matter itself. Painting is a medium of subjective representation. Different idioms carry different powers according to their placement in art historically.

I work improvisationally with different idioms and forms of representation directly on the canvas letting the painting itself dictate the next step.

I use photo representations, vintage photos, personal photos, documentary film stills and images from life. AlI of these form incomplete memories and imperfect representations, carrying their own preconceptions and limitations. In a way these paintings mirror history in that they are driven by incomplete information and subjective readings.

I work in combinations of deconstructed images from varying sources in film like montage critical of representation and its various limitations. I start with an overall concept and direction, but then something else happens in the process, something that illuminates the visual memory and establishes the right constellations, an intuitive, overall view of the elements, levels, dreams, memories, quotations, persons, colors, and divisions.

I sketch the first visual ideas loosely onto the canvas, setting up little more than structural organization. Every further step toward solidification is also put directly onto the canvas. That means a works final form is always based on the format and the correlation between action and creative thought, allowing things to happen, as if in a trance and then intervening in the internal logic of the image. This procedure is simultaneously exciting and full of risks, it constantly operates with the unknown and brings to light the mysterious uncensored ingredients of the past and the present.

-Douglas Schneider