Besides being an accomplished artist, Max Hooper Schneider holds degrees in biology and urban design from NYU, and landscape architecture from Harvard. This of course heavily influences his work, made apparent with aquariums, vitrines, even larger-than-life sculptures that all play host to mutations of flora and fauna—typically illuminated by sickly neon lights that render habitats uninhabitable, post-apocalyptic, and strangely fascinating. Hooper Schneider’s pieces often envision a hypothetical world well after humans are extinct, where the only wars are that between verdure, fighting for sunlight and forest floor real estate. Patrons will find it difficult to deny the post-human world the artist has built inside neat little containers, which are for now, contained. In improbable receptacles. All are complicated, beyond the understanding of human consciousness and cultural production, in a perpetual decomposition and recomposition. This new world order, the artist seems to suggest, is hurtling faster towards reads reality than we are perhaps prepared for.
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Max Hooper Schneider
By Martina Alemani and Janelle Anne
This was originally published in
Tunica Issue 6 F/W 2017
T U N I C A
Receptacle of international culture based in New York, which acts as a membrane to capture and showcase various talents; combining disciplines, and haring through ideas and styles.