Nora Schreiber is a BFA candidate at the University of Texas at Tyler. During this time, she has received a nomination for the Outstanding Student Achievement award, been on the President and Dean’s list, she has received many Art Excellence Scholarships, and was honored with being the first undergraduate recipient of the Christopher Lyons Memorial Scholarship. Outside of the university setting, Schreiber acts as board member for City of Tyler art event, a juror for East Texas art exhibitions, and aides in the relationships of businesses and artists including sales and exhibitions. She has exhibited across East Texas. And, continues to work in her pursuit to graduate and create sculptures and mixed media pieces.
My recent body of work asks two questions. First, can art go beyond living as a statement of the times in which it is created? Secondly, can art become part of a solution? These questions are posed in various manners including, public installations, created experiences, video, and multimedia, infecting the world with an option of empathy. Not sympathy. Sympathy creates separation. Empathy is unity as it states, “I feel for you, because I can see myself in you.” Working with empathy as a dominant conceptual basis, the audience is invited to step into a stranger’s shoes, then back into their own life. This helps brings the viewer a larger capacity for understanding.
This work speaks to the polarization of people through society’s creation of “Other”. The artist works under the idea that beings interactions have more fluidity than allowed. With this, the work created begs the audience to recognize an evolutionary response to the people around them. Mirror neurons are far more active in humans than any other animals, yet the social constructs they build, do not allow them to act effectively. This is a goal of this work, to further a socio-emotional revolution.
This work contains “forced first impressions”. This is achieved using portraits holding complimentary authorship by the artist in the form of a mask made of text. The visual representations of this empathy system is brought about using a finite set of formal choices within objects made. Though, the most provocative answer to the second question asked by the artist is the use of chairs. Functional and also art object, these chairs fall into the communities lap to be seen by either side of the generalized idea of the two sections of society. The “haves” and the “have-nots” are both confronted with the presence of these chairs. They are a direct mode of interaction between art concept and need in an everyday comfort.
My work searches to find the thread that runs through all people. Can an idea of unity and empathy shown in conceptual based work be more than a statement? Can a philanthropic use of art become a solution for the world’s separatism?