Andre Breton, founder of Surrealism, once said: “The highest endeavor to which poetry can aspire is to compare two objects as remote as possible from one another, or by any method whatsoever, (to) bring them into confrontation in an abrupt and striking way.” In this way, third meanings are generated from elements that remain otherwise undistinguished.
My work is a dialogue with some of the lower common denominators of visual culture. I am drawn to images that strike me as enigmatic, that are at once strangely beautiful and vaguely threatening. They are familiar things jerked out of context and thrust together, as in “the chance meeting of a sewing machine and an umbrella on a dissecting table.”
In the end, I want to make something beautiful from the cast-off and insignificant, to lift the veil of banality covering the generic and commonplace. I want my work to have a presence like furniture to which other meanings might be attached, like the rubber gloves and artichokes in the paintings of deChirico. A critic once spoke of my work as “essentially leaden and humorless.” I found that to be a rather sensitive observation and took it as a compliment.
John Schulz has been teaching Printmaking as Regular F/T Faculty at the School of the Museum of Fine Arts, Boston, since 1995.
1 Highland Wayside
Andover, MA 01810
14.05.2012 - 22.06.2012