George P. Schnyder
George P. Schnyder (°1978, Krefeld, Germany) is a storyteller and explores the realms of imagination in various media, from moving imagery over videogames to roleplaying games and boardgames. By choosing mainly formal solutions, his work references post-capitalist cyberpunk theory as well as the post-modern and the left-wing democratic movement as a form of resistance against the logic of the capitalist market system.
His work bear strong political references. The possibility or the dream of the annulment of a (historically or socially) fixed identity is a constant focal point. By demonstrating the omnipresent lingering of a ‘corporate world’, he seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events. Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life.
His practice provides a useful set of allegorical tools for manoeuvring with a pseudo-minimalist approach in the world of storytelling: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. With a subtle minimalistic approach, he creates work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual and minimal art can be found. The work, to counter that approach, is stylised and planned to have visual imperfections to recreate the feel of life.
His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. By parodying mass media by exaggerating certain formal aspects inherent to our contemporary society, he uses a visual vocabulary that addresses many different social and political issues. The work incorporates time as well as space – a fictional and experiential universe that only emerges bit by bit.
His works often refers to pop and mass culture. Using reacouring symbols, a world where light-heartedness rules and where rules are undermined is created. By merging several seemingly incompatible worlds into a new universe, he tries to develop forms that do not follow logical criteria, but are based only on subjective associations and formal parallels, which incite the viewer to make new personal associations.
His works are based on formal associations which open a unique poetic vein. Multilayered images arise in which the fragility and instability of our seemingly certain reality is questioned. By emphasising aesthetics, he makes works that can be seen as abstract self-portraits. Sometimes they appear idiosyncratic and quirky, at other times, they seem typical by-products of American superabundance and marketing.
His works demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It challenges the binaries we continually reconstruct between Self and Other, between our own ‘cannibal’ and ‘civilized’ selves. By using popular themes such as sexuality, clan-like structure and violence, he touches various overlapping themes and strategies. Several reoccurring subject matter can be recognised, such as the relation with popular culture and media, working with repetition, provocation and the investigation of the process of expectations.
His works sometimes radiate a cold and latent violence. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the exhibitions, further complicates the reception of their manifold layers of meaning.
George P. Schnyder currently lives and works in Tönisvorst, Germany.