All Unsaved Changes Will Be Lost
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All Unsaved Changes Will Be Lost is a series of risograph prints created by Centa Schumacher and printed by Misfeed Press in 2021, exhibited at the Lohr Gallery in Wilkinsburg, PA. Each piece is not singular, but consists of layers of black and magenta prints on vellum stacked against a pink background. This series turns inward towards the small, fearful interior, looking at the ways the layers of the self combine to create something that appears and then recedes from view.
The images are a collection of photographs culled from my archive, spanning years of work that did not fit into any particular category or series. However, all the images collected here are connected by their abstracted, evasive disquiet. Soft pink dominates the background and frame of the work, attempting to contain and control the vague images within while also undermining the intensity of the magenta layers. This kind of soft pink is associated with peaceful calm, and is sometimes painted in spaces like jails and hospitals to induce a sedate peace and to discourage raging emotions. Opposing this, magenta is a color that only exists when the spectrum contorts back onto itself, when red impossibly touches violet. While seemingly similar, the pink and magenta are at odds, a tug of war between ease and discomfort acted out in an abstract field of view.
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All Unsaved Changes Will Be Lost is a series of risograph prints created by Centa Schumacher and printed by Misfeed Press in 2021, exhibited at the Lohr Gallery in Wilkinsburg, PA. Each piece is not singular, but consists of layers of black and magenta prints on vellum stacked against a pink background. This series turns inward towards the small, fearful interior, looking at the ways the layers of the self combine to create something that appears and then recedes from view.
The images are a collection of photographs culled from my archive, spanning years of work that did not fit into any particular category or series. However, all the images collected here are connected by their abstracted, evasive disquiet. Soft pink dominates the background and frame of the work, attempting to contain and control the vague images within while also undermining the intensity of the magenta layers. This kind of soft pink is associated with peaceful calm, and is sometimes painted in spaces like jails and hospitals to induce a sedate peace and to discourage raging emotions. Opposing this, magenta is a color that only exists when the spectrum contorts back onto itself, when red impossibly touches violet. While seemingly similar, the pink and magenta are at odds, a tug of war between ease and discomfort acted out in an abstract field of view.
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