To make a work of art is to make something that is conditional. The ensuing dialectic of a counterpart, or kinship, inhabits the works of Sydney Schrader. Moving between conceptually driven sculpture and abstract painting—with writing as a binding agent—the artist adroitly forges a dialogical relation between these two areas of art making, whereby they go back and forth between figure and abstraction, on the prowl for synthesis.
After graduating from art school in 2018, Schrader didn’t pay much attention to making art but focused on writing, up until her 2020 solo exhibition at the New York artist-run gallery Gandt. In turn, somewhat amusingly, her works of late likewise address things that usually don’t receive much attention. Hiding in plain sight, that is, designed so as to be(come) invisible, the things in question—architectures, infrastructures, design—are daily companions that shape our actual and psychological environment.
(...)
Full artist’s profile here: Mousse #84, pp. 204–209; or online: www.moussemagazine.it/magazine/sydney-schrader-gloria-hasnay-2023/