Your own motif
Limitation of an abundance
In this existence, man certainly brings with him some qualities which distinguish him. Everyone has something for himself that rightly defines him and his essence. That's supposed to be the wait we came from. That's the one what's all going out. It is our actual starting point in this life. What can be achieved is therefore spatially and structurally connected in a given context. There's a way from here to there. This is to be understood and given.
Man should consider in detail what he is, has and can do. It should be possible for us to control the given once we have dealt with what it is. What one has experienced is understood correctly by us in retrospect, so that we can draw a lesson for ourselves from it.
So, one grasps one's own again and again and feels an after-effect of it. This way something can come into balance with us or finally be straightened out by us. Something like this is supposed to bring about real salvation for us. Anything else is then recognized as invalid and can be released. It shall have no immediate meaning for our existence. We're just gonna let that go because that's right. It then falls away from us because it would no longer be usable by us for this life. We can therefore free ourselves from such a thing.
So, it happens that man can reduce himself by those parts of this world which do not belong to him. These are not an actual part of his being and would probably not be usable for a long time.
If man first of all reduces himself by such things that appear strange to him, then probably only something of his own, his good, remains to him alone. This will have to be concentrated. There his powers will finally be bundled to a real strength of him. From this point of view of a concentration of the actual, less should really be more. So perhaps his own works will soon give this man, who has done something like this before, sufficient joy again, because he possesses a certain strength to draw it from his own feelings. Once our efforts in this direction have been fruitful, they will possibly bring some happiness into our lives and many good things will come true for us.
You just let go of something supernumerary. If you finally recognize the given quantities correctly. One consolidates one's knowledge of this existence by thinking about what will really be required of the given for this existence. Something necessary should be achieved by us in such a way that it happens promptly.
Recognizing and taking up the given
As a working person, it will be useful to accept something of what is there and what occurs. This can be incorporated into one's own work and communicated through it. Thus, the created is related to something given that exists. Nothing else would matter. People are likely to recognize it when something is created in this way. The work consists of something familiar.
Thus, the creation of a work confirms something of what others also know. They may recognize it and understand what it is because they are already familiar with it.
A world that exists and in which everything is already there does not need any additional things. A present in today's time brings all sorts of absurdities to light. People participate in part in a general perplexity caused by the belief that we can no longer overlook this cosmos. This would not need to be reinforced because it is unproductive to think so.
It is better to allow this topic to become known and to look at what has become. A certain framework should be given for each of us humans, because of which we once know to exist. We are committed to ensuring that everyone finds and recognises such a person for themselves. If one simply refers to this one in the common togetherness. That's the way it's done, even if there may be difficult things coming up with us that need to be addressed.
Something is inscribed in things
Every thing can have real value for someone. That will be so certainly true. No one has a prerogative to determine the value of something over all heads and determine what it is. There can be no such ruler with us, because we citizens of this state above all other things pursue democratic principles and would like to maintain these also related to something as everyday as the measurement of a value structure.
There should be a pluralism with us, which keeps continuance. Without a recognition of the difference of those thoughts and ideas of us humans there can be no more actual freedom of the individual. The individual need not behave so obediently towards third parties that he adapts to their views. What other people have said, they have to prove themselves. It would not be our job to prove what others have done for the best. Furthermore, the views of third and fourth parties have no other meaning for us than we would like to concede to them.
It will be so correct that a human word means exactly what it says according to the linguistic view. If the will of man can justifiably also be another than it is expressed in words, we should nevertheless endeavour to speak in a true way. What has been said by us, we have to consider in detail afterwards in order to really understand the effects of it. The information should not be useless, neither for others nor for ourselves.
It means something that's said. Other people will question it. These are supposed to be our witnesses. From time to time they produce testimonies about us. The reproduced word may perhaps come directly from us, but the heard will be the good of another. That wouldn't be a general assumption that something like this would coincide, because nobody can absolutely understand what is happening. What one person says and what another person hears about it sometimes deviates strongly enough from each other to prove it. Human existence simply entails that there can be discrepancies in the mediation of the given. What is going to change anything about that, after all, we will still be such people in the future! - This has always been the way it is in our nature. That's why it's better to tend to leave the fives straight at times in order to get along well.
Light and shadow
The shadow of a thing would be the not well visible area without great light. In it the world sinks into darkness. The light, on the other hand, raises everything and shines brilliantly.
The concept of the Kenning
The Kenning is an old term from the early Middle Ages. It denotes a certain linguistic form with which it is made clear in a few but pithy words which attributes or achievements a person or thing has.
Over the years, Schneider has gained so much from this term. His literary work is partly based on such reflections as are given thanks to the linguistic structure of a Kenning.
Applying the concrete as form
One's own existence as a human being is connected with a whole life. To do justice to this fact in works, that should be the right task for Schneider for the moment.
A draft directive
Coming from the middle of a sheet, Schneider performs a single, densely filled sequence of actions in the creation of his works. His pictures represent the actual motif centrally. Everything else on the picture is to be understood in addition and is based on this core. The center of the picture stands out from the edge of the sheet and forms a thing with special weighting within it.
This major part of the work is framed and interlaced, even wrapped and held in place by a wickerwork of ornaments. There the motive can be determined in a simple way. It is the more significant part of the image that determines the prestige of the work.
Schneider rejects an overdrawing of the form of a matter as too speculatively motivated. He wouldn't want to do something like that. He really abhors distorting an existing weighting of things. His standard is there. After the distribution '1: 1: 1= 100 %' he has produced many of his works and would like to continue to do so.
Since Schneider believes that there will in principle be three independent levels in space, which will only occur together or not at all, he will actually design his things accordingly. He's been doing that for quite some time. He would like to maintain this procedure.
The design as actual work
As a rule, a new type of work is first sketched as a rough sketch before it can be finely worked out. This will then be done on further pages so that these drafts can continue to be used as templates. Schneider, however, prefers to do a certain amount of fine work on the designs, even to try one out on them.
As the density of a work increases, Schneider's forces dissolve. These are released by him. An own, temporarily to be found capacity is dismantled and exploited by him there. In order not to overspend himself, Schneider has become accustomed to gradually finding his way from the finer to the coarser in works. So, he can finish these despite a perhaps too small own strength nevertheless mostly in a litter.
Gain a personal impression of something
The actual expression of a work is in context with the work of an artist. The latter learns something about the actual constitution of himself. In this way, he can keep it as it is for him and draw certain conclusions from this experience of himself.
Everyone wants to be satisfied with his own works. And yet a certain training of man is necessary before satisfactory works are created by him.
Starting from a definition of the materials suitable for a task, the worker uses only tools and his own energy to implement them and thus create something. Whether that will then be of value, what arises from it, that should not remain questionable. It marks the currently valid characteristics of its manufacturer as well as its references to an interior and exterior world existing for it.
All this is to be brought into harmony by doing things in a uniform way. Let's go the same ways over and over again. Let us also simply walk through them in an unabridged manner. That'll probably get us enriched soon. Then something will emerge that we can find to be good.
Such a production process has a certain relevance for the work of the author Schneider. His creations help him to understand something. He writes it down bit by bit, what that is that weaves around him in his inner world of thoughts and ideas, while he deals with his own art. This creates a written work of personal validity. Dealing with this one afterwards has already eradicated many an emergency with him.
Draw simple strokes
The stroke is to be regarded and understood as a beginning of any form on the level of a painting ground. This is pulled with the hands. In doing so, we give the objects depicted an appearance that more or less corresponds to their real functionality.
From the very beginning of a work, such a stroke remains the defining element of an artist's work. With an entire swarm of such forms, the motif is uniformly transposed. Again, and again he returns to his starting point and starts again from the beginning with the same approach.
In this way, something that can be beautiful succeeds over time. It refreshes the draughtsman when his work pleases. This work of art leads him on a path to the representation of the given phenomena of a reality, as he can recognize it. By this he will have to be measured whether he is able to correspond to it.
Working on works is exhausting, but sometimes also edifying in a beautiful way. Over time one gains a real trust in oneself and one's own disposition is strengthened. Thus, one gradually comes to represent something of what he himself knows for certain reasons, how it goes along with his existence. Something like this may well be of a kind that is still unknown to others. By applying strokes, shapes and surfaces, contours and other design elements can be created. The use of colour contrasts lends the works a certain brilliance.
Long lines and also short strokes or even dots can enrich the work with liveliness. A certain harmony is thus captured in the picture and it is shown that the artist knows how to create what corresponds to him. His clarity in works determines the portrait of it, which he can comprehend and reproduce.
Such harmony will only find its existence if it is not ignored. Their essence is permanent to grasp, but we can temporarily lose our access to it. Then we seem headless. Meanwhile, as a rule, people find only that which helps them to self-affirmation beautiful.
Apply groupings in the picture
Some objects are well suited to be arranged by us in space. Doing that will give them a certain charm. This gives a room something alive. This will appear in such a way that one can see how it is inhabited.
So perhaps one can also say that the domicile of a person reflects something of who inhabits it. Accordingly, Schneider occasionally examines his own apartment for its significance for his life. A certain value of these things exists for him and is known to him. He can say that it are his own things that are inside it. Besides the furniture there are also some objects available. He deals with these himself in everyday life.
So, his apartment is the important living space for him. This is where he starts his life. The nature of his destiny he has already somewhat secured and consolidated in recent times.
Without saying any great sounds Schneider now says something else about it. The living space he has created exists in a way that has allowed him to recall his own things from earlier times. He heard so much about his life when he set himself up more and more in his pad, that once even a reset to an earlier ground state of his life was possible for him.
There he preserved what had happened, so that in spite of all his later experiences of this existence, the child in him soon reappeared again. From then on, a feeling connected with this found recognition again with him. That's how he found out who he was and what makes him tick. This occurred to him as a holistic experience. With this he has achieved something that is playful and also wants to be understood that way.
Meanwhile he documented this process of self-discovery with pictures, music and writings. Even today, he continues to do so. So, it happened that he preserved something of it with word and picture, but also with sound and note. What has happened in the process is meaningful. A nutritional value of it should at least exist for himself.
Now his centre of life exists and is given by this place. So, something remains memorable. Testimonies of this become visible through his more recent works. The author strives for a conclusion of the whole of his existence in his works. Within this, all elements of his existence are to be equally considered. So, they would like to be seen as a whole by other people.
With the duration of this work Schneider tried to place more and more something of his real existence in the drawn picture. What means something good to him, he tries to group in a suitable way. With these pictures he expresses something of himself. Sometimes he also places it in a valid context through certain connections with his world of thoughts and ideas. Sometimes it is only a mere numerical value which means something to him, but he also recognizes such a value as representable.
It is so good and right that nothing would be further from him than to practice a mythology of numbers and figures. And yet precisely such values reflect something that is equivalent to an experience of the author.
He now wants to show you some examples of this in a simple way.
- The number three sometimes stands for the three brothers to whom he counts himself.
- The number five stands for his parental home or marriage.
- The number two stands for a partnership in exchange.
- The number one stands for the reflection of man. This one shows something that makes him what he is. It shall be a sign of its power that it can be represented.
- The number six stands for a perfect partnership from which young talent has emerged. (5+1)
Display surfaces and rooms
In the case of a portrait, differently pronounced colour areas often correspond with each other. Depending on their value and size, these stand out clearly and audibly from each other.
There is also a contrast between such forms and surfaces and the pictorial emptiness. This will have to be understood correctly as the depth of an image.
All those bodies that emerge against the background mark a level in the picture that corresponds to it. Thus, an effect of form can arise on the perception of the spatiality of an image.
Of the actual unity of a motif
A closed form should be one in which the border of an object stands out visibly from a background. To do this, a border of the object would not have to be drawn in a different color. There should also be other ways and means of capturing and depicting such a totality of an elementary in a pictorial way.
We artists should learn how such an effect can be achieved. Every effect has to be recognized and controlled by us. That's why you train your skills.
One should be aware that a talent for painting can be developed. After all, this will be a real craft.
What we have to do will also be done by ourselves. You don't overburden anyone else with it.
This gives the designer real control over his work. Once this has been the case in a benign way and has led to our existence, it should be something else that we have been so comprehensively active in shaping.
A sequence of drafts often possessed an actual Nucleus with me, to which a few main works of this phase resulted. As a rule, they carry a significantly better level of elaboration and a somewhat clearer audible representation of the motif itself.