06 june 2023, Wouter van den Eijkel
The studio of... Joana Schneider
Joana Schneider is happy that she mainly works with her hands and doesn't stare at a computer screen day in and day out. Yet, the starting point for her solo show If you know who she is, it's Time for Botox was a Polly Pocket meme with that text. It turned out Schneider could use a shot of proverbial botox, because as a child of the 90s, she immediately recognized the toy figure. She used the meme’s caption as the title for her solo show, in which she satirically reflects on her generation’s ideals of beauty with Polly as its protagonist.
A conversation Joana Schneider, an artist who has a great appreciation for crafts and who attaches great importance to sustainability. If you know who she is, it's time for Botox can be seen at Rademakers Gallery in Amsterdam until July 22.
I learned that you have two studios. How did that come about?
Initially, I exclusively worked from home at my “Woonatelier”. After a while, I decided to separate the techniques and ways of working into two distinct spaces. One is dedicated to a noisy environment, accommodating the presence of neighbours, while the other offers a calm and serene atmosphere for a more focused approach. These two strands represent the different paths I pursue in my practice: one is a Zen-inspired and sophisticated approach, while the other embraces a rougher, more energetic style.
Joana Schneider, Saturday Night Fever Dreams and Ballet Date Look, 2023, Rademakers Gallery
What requirements should a studio meet for you? Is space the determining factor or should there be natural light?
For me, a studio should meet several requirements. Firstly, I have different preferences depending on whether I seek a more social environment or a more isolated and intimate atmosphere. At my studio at the creative hub Loods 6 I am surrounded by a diversity of artistic approaches which helps me tap into a wilder side of my artistic practice. On the other hand, I appreciate the tranquillity and seclusion of my home studio.
In terms of space, it indeed plays a crucial role for my work. The scale of my creations heavily relies on the size of the studio. A larger studio allows me to work on larger pieces, while a smaller space compels me to focus on more detailed and smaller-scale works. Therefore, the available space is a determining factor in my artistic output. But I would also say that I very much value natural light in my studio. I feel blessed to have abundant light streaming in from ceiling windows. The presence of ample natural light enhances my productivity and overall happiness while working. Daytime work sessions, illuminated by the gentle glow of sunlight, create a more positive and conducive environment for my artistic endeavours.
Atelier Joana Schneider
Your works are very labour intensive to produce. Some of your works include as many as 30,000 stitches. I assume you do that together with a team, is that correct?
Yes, that is indeed correct. Since the very beginning, I have been working with a team and there are several reasons for this. As an artist, I find that solitary work in the studio can be quite isolating. I truly enjoy working in a team, as continuous communication helps me to constantly reflect on a current project.
Working with a team has been a defining factor in my practice, as well as in the realm of textiles in general. In many cultures, textiles have been produced in groups, which fosters a sense of community and creates a positive working atmosphere. When individuals collaborate on a project, it generates a sense of togetherness. Over time, I have had the privilege of working with different young creatives and professionals whom I have trained in a variety of textile techniques and in using the tools I have especially built for my practice. I am incredibly grateful and blessed to have the support and talent of this small team.
You graduated as a textile designer. How did you end up in autonomous visual art?
I received my training at the Royal Academy, specifically in the textile design class. However, what made the textile lessons at the Royal Academy truly special was the diverse backgrounds of the teachers including autonomous visual art. Teachers such as Tanja Smeets and Laut Rosenbaum, who had been following their artistic practice for many years, served as significant inspirations for me and guided me on my artistic journey.
Right from the beginning, these teachers provided unwavering support, encouraging me to explore installation art and find creative solutions to express my ideas. Their guidance paved the way for me to follow the path of an autonomous visual artist.
Joana Schneider, Hungry but too tired to cook?, 2023, Rademakers Gallery
For those who weren't young in the '90s, what are Polly Pockets and why are they the subject of “If you know who she is, it's Time for Botox”?
As a child of the 90s, I can still recall the widespread craze that surrounded Polly Pocket when the toy line was at the height of its popularity. It actually started as a tiny toy house which you could carry around in your pocket - therefore also the name - which came along with the miniature doll, Polly. The houses were often heart or star-shaped and many girls imagined themselves in a world within that small house. After a few years, Polly Pocket evolved into a Barbie-like doll, but in a smaller size. These dolls allowed to collect various clothing items and accessories.
Regarding the second part of your question, I would like to share an experience I had. About a year ago, I came across a meme on my social media feed that featured Polly Pocket and her accessories. The caption below the image reads, "If you know who she is, it's Time for Botox" which is now the title of my solo exhibition. Recognizing the doll, I was caught off guard which made me laugh. However, this also made me contemplate and later on, I started asking myself questions about contemporary beauty standards. As a result, this project ended up being a playful means for people of my generation to revisit a part of their youth with a satirical outlook on current beauty ideals.
Detail Joana Schneider
The title of the show “If you know who she is, it's Time for Botox” can be seen as a cynical reaction to this time. Is it a response to our generation that has grown with popular celebrity and fast fashion?
Indeed, it can be read as a cynical reaction to this time. However, my intention has never been to be cynical; rather I see it as an observation spiced up with a sense of humour. Actually, and as part of the generation, I feel a connection to the struggle with beauty and youth that is as well connected with a certain nostalgic feeling. With this work, I aim at observing the challenges many people face in dealing with beauty standards.
Conversely, your work is characterised by sustainability. You work a lot with discarded fishing nets and used recycled PET yarn. How did you come up with that?
My studies in textiles reinforced my awareness of the pollution caused by the textile industry worldwide. Motivated by in depth research and the feeling of responsibility in my position as a creative professional, I made efforts to explore various methods of creating in a more sustainable manner. I sought inspiration from my immediate surrounding environment, looking for ways to incorporate different streams of waste material in my closest proximity into my work. As I moved from Germany to The Hague the sea and the fisheries sector immediately caught my attention.
Joana Schneider, Saturday Night Platform Sneakers, 2023, Rademakers Gallery
Your work also shows a great appreciation for crafts - professions that are slowly disappearing such as rope makers, thatchers and basket makers. As mentioned, your works are very labour-intensive to make, a Polly Pocket is made of cheap plastic. Is this reversal also a form of criticism?
First of all, and from the perspective of an artist, I would like to mention that I am one of the lucky few who are granted the opportunity of working in a predominantly non-digital realm in our digital times. The artistic means that I have chosen are a form of appreciation for persons who still work with their hands and therefore using an industrial produced plastic doll as a reference could indeed be read as a form of criticism. However, what intrigues me more is the juxtaposition of the digital and the crafted. The process itself, particularly the labour-intensive stitching of ropes together, results in an outcome that aims at resembling a 3D print rather than a handmade object. This seems especially interesting to me because my main reference point - the meme - lies in the digital realm, whereas the outcome is a handcrafted object. Then again, the aesthetics of the object aims at bridging the gap between the digital and the crafted.
For this show, you draw from the popular culture of the 1990s and have previously covered the role of influencers in your work. Which other periods are interesting to you and why?
This question is indeed interesting, and at present, I have not considered alternative periods yet. However, it is plausible that in future another period might captivate my attention. Currently, my main focus lies on periods within my own life experience.
Joana Schneider, Polly's Garden, 2023, Rademakers Gallery
If I were to give you carte blanche, which project would you immediately undertake?
Creating an entire world that immerses the viewer and invites them to physically step inside is a dream I carry around already for a long time. Really drawing the viewer into an imaginary world, for example, the Polly Pocket world, is an endeavour I would love to execute. Given the opportunity, I would aim at providing a full body experience in a physical space, however without using any digital means.
What are you currently working on?
I am eager to further explore the possibilities of creating recognizable objects in a 3D printed aesthetic. Discarded ropes, with its texture, flexibility, and inherent strength, present a fascinating challenge and open up a world of artistic possibilities. By carefully manipulating and weaving the ropes, I can transform them into three-dimensional sculptures that bear a striking resemblance to the objects they represent.
It is a fascinating process that requires intricate craftsmanship and attention to detail to recreate recognizable forms. Each strand of rope becomes a vital element in the larger composition, meticulously crafted to capture the essence of the object being represented. The resulting artworks often blur the line between sculpture and installation, inviting viewers to engage with the familiar in a fresh and thought-provoking way.
Joana Schneider, Forever Young, 2023, Rademakers Gallery
