Drawing for Albrecht Schnider is a kind of laboratory. (…) The unexpected and accidental are part of this experimental method, and its outcome - artistic failure or achievement - is unpredictable. This tentativeness is an inherent part of drawing. But Albrecht Schnider also is a seeker who follows certain ideas when he starts drawing. Only during the process when one picture after the other emerges, he manages the kind of openness he desires. And then he creates his very best drawing - fully released, unforced and almost as a matter of fact.
(…) we should be allowed to ask a rather irreverent question: For can we speak of drawing when we discuss these works? Are they not rather paintings on paper?
Drawing always starts at the beginning, they work, so-to-speak, from the bottom up using the tentative, mutable, and shapes in motion. Drawing thus becomes highly relevant in the discussion about the possible significance of the artistic gesture: For it is such non-committal playfulness, which allows for a new kind of commitment in art.
Excerpts from Albrecht Schnider – Das noch Mögliche: ‘Aspects of drawing’ Exhibition Catalogue, by Stephan Kunz (2006)
More information about Albrecht Schnider here.