Emily Schneider - • one square inch of silence •

what do you hear when you look at me? [2]

01.14am

“And the silence, as they say, is deafening. […] I helplessly observe my mind as thoughts careen across it […]. Desperate for distraction, I check my phone, crack my knuckles, make tiny coughing sounds. Each tiny rupture of quiet attains such specialness, such texture, you can practically touch it. It takes tremendous effort to be silent: yet that’s what I’m here to be. […] I am in, what you might call, a state of withdrawal […]” ¹

Living in a heavily industrialised and overstimulated society, shaped by ubiquitous human-made sounds, peaceful moments of quietude have become rare. The works pay homage to the rare quiet moments of our daily lives, suggesting that not every void has to be filled – an invitation to rest.

04.35am

11.36pm

what do you hear when you look at me? [4]

what do you hear when you look at me? [1-7]

04.35am [close up]

01.14am [close up]

Why and when have we stopped listening to our natural environment, and why do we struggle to embrace the calm?

I have been individually placing white dots (Pointillism), and occasionally lines, on a deep black matte surface. Dynamic matter in a state of constant transformation – at ease, delicate and fragile. While the mark-making itself required control, the emergence of the overall composition remained intuitive.

This approach, which has become of increased interest to me throughout the year, appeared as a surprise and a challenge – yet it has intensified my relationship with drawing. I am seeking to produce work in which the viewer becomes immersed in the identification of each little dot, each detail – a moment of focus. By encouraging this form of engagement, I am aiming to catapult the mind out of its habitual process of thought and into a state of quietude.

The following theorists have contributed to radical changes in my technique and the final body of work, continuously challenging my perception on figurative art and by inspiring me to critically examine my scientific approach:

Davide Zordan deciphering whether art should be devoted to external or internal representation, Graham Coller describing the virtue of point and line, and Gordon Graham’s outlook on art as a source for understanding. In addition to many lesser-known artists and artworks, “Raw Materials” by Bruce Nauman, a chaotic sound installation, and “The Artist is Present: A minute of Silence” by Marina Abramovic, a non-verbal performance piece leading to an emotionally charged room, have given rise to several pivotal moments during the development of this series – stimulating considerations around the essence and presentation of the work.

'One Square Inch of Silence' was awarded with two awards:

Nelson Suter Art Society Distinction Award [which included the opportunity to take part in a group exhibition, and a one year membership in the Suter Art Society]

Framing Rooms Distinction Award