With the phenomenon of bubble gum and Recycling is Salomon-Schneider grabbling in his Starkenfeld Street. The little icon – the information through symbols on one of today’s most commonplace consumer goods, the chewing gum and its packaging – he monumentalizes it and declares this commercial design modified for autonomous artwork. Only now is the viewer’s attention to a string that is certainly known to him. Whether consciously or unconsciously, on several occasions in his life, it appears to be every one already encountered. Either as a consumer in the hand or as a waste product in the street. Just the kind of monumentalizing smallest everyday characters – the synopsis with the attractive genießendem (enjoying) consumers – in this case two students with chewing gum bubbles -, involves aesthetic forces in itself, which remind both the Dadamovement and the Pop Art of Andy Warhol. Salomon-Schneider is entering new territory but in plastic design, certainly a future approach.

Plastik Plastik Plastik Plastik Plastik
Plastik Plastik Plastik Plastik Plastik

But Solomon Schneider – variatio delectat (latin: variation delights) – knows quite different stylistic devices for his statements. His Line-skeleton, a symbol of the single sometimes centuries to millennia enduring remnant of the human body after death, can not do without a daily basic needs, so it is childishly playful with his “water” around, and stays that way – unintentionally – but some of the survivors. A contemporary kind of “dance of death” in an epoch of wars and holocausts?

As a mythological theme appears – but also of autobiographical causes Kronos, the personification of time that eats his children. Approx. 700 drawings Salomon-Schneider´s from his Aktzeichenkursen (nude drawing courses) here were glued to this magical figure. The Kronos of the artist also eats his children. From old drawings could only figure emerge. Everywhere they are still readable, to the eyes. One last, one leg still extends from the mouth of the all-devouring God of time. Affinities for Goya´s Kronos in Madrid are specific topics.

Autobiography can be found at all common in Salomon-Schneider´s oeuvre – but so general that every viewer can feel himself addressed. Salomon-Schneider’s art is in its kind in Bamberg alone. With knowledge of the current international art scene creates the artist also works in Bamberg, which is thought to be hardly found here and which will have their future.

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