“No Shepherd, No Pastoral”
Note: Schneider Luescher is interested in showing how form can be interpreted via models, unfolded plans, and collages. Each of these media addresses different aspects of form-making as a procedural vehicle for design. Models show the variations of form as they are confined to the same volumetric envelope. Drawings explore the multitude of ways that one can unfold the same form. In this context, it is also interesting to consider how a two-dimensional drawing refers to a three-dimensional form. Collages further unpack ideas of process. Schneider Luescher has specifically chosen pastoral paintings to emphasize the imposition of foreign forms and the typology of the folly (in architecture, follies are buildings constructed primarily for decoration.) In these types of images, form becomes a foreign object: expanding past its actual shape. These works also explore the quote by Leo Marx describing pastoral paintings, which reads, “No shepherd, no pastoral.” Here, the visual assertion becomes, “No folly, no pastoral.” The appropriated pastoral works are Jean Baptiste De Jonghe’s Cattle watering by Ruins and Thomas Cole’s View of Fort Putnan.