at Jack Shainman, 513 W. 20th St. (Chelsea), through June 22.
Sorry this is over by the time I got to it, but, too good to forego comments—do look for Schreuders at any opportunity:
Recent examples of her characteristic (by now) stunted, polychrome wood figures were featured, along with related studies and a series of portrait heads on paper (lithos; ink drawings). As per the show’s title (above), I read them (collectively) as stand-ins for Freudian exposés, if not explorations, of Eros among prosaic-looking heteros, tangentially reminiscent of Charles Ray’s fiberglass familial figures of the 1990s. Her hand-carved-and-painted technique casts a Pinocchio vibe into her wooden, lightly pasty-white boy-men and girl-women. Yet, static and solemn in bearing and hue they might suggests votives–but then, dedicated to what sort of being, idea or aspiration? Only slightly Surrealist (some more than others), they point more so the mundane, rote nature of a range of sexual activities (explicit) and casual musings about them than subconscious simmerings.
Some basics of the artist’s backstory, which adds layers: Schreuders’ acknowledged autobiographical subject matter; her upbringing in Apartheid-era South Africa; her attendance at the Michaelis School of Fine Art (Cape Town), where Jane Alexander has had an influential pedagogical presence for decades and likewise, her inter-species sculptural creature, in the context of the atrocities of Apartheid (and otherwise), for the international art world.
A group of washy, simplified portraits on paper were pointedly down-lifting (as my viewing companion put it)—the visages effectively, viscerally, conveying vulnerability and wounded-ness, reminiscent of those of Marlene Dumas, another precursor.