Larry Scholder‘s collection in the AP/RC includes a range of his etching relief prints from 1992 to 2013, some of his aquatints
printed at Flatbed Press in Austin, TX, and photocopy collages that served as drawings to explore compositions for his etching relief prints.
Scholder’s collage drawings create dynamic figure ground compositions by emphasizing the emptiness of white lines on a black rectangle. Each of the white marks, sometimes in spite of their collective cacophony and no matter how apparently incidental, become more pronounced. Scholder’s photocopy collages, largely (but not exclusively) photocopies cut up and reorganized in a nearly undecipherable sequence, eradicate any lingering horror vacui. At times a kind of frenzy or turmoil guides his repetitive layering, cutting and copying lines and shapes. Each completed image freezes portions of an abstract field and glimpses some dynamic part of a whole.
Perhaps Scholder’s best workmate is the photocopy machine. Copying, enlarging, reducing, cutting, pasting, overlapping, and countless repetition of these steps transforms
his images from photocopies to drawings. He relies on multiplicity, for which printmaking is well known, beyond normative levels. Breaks in lines, skips in the flow of ink, thickness and thinness, changes in direction, stops and starts emerge as a dance between Scholder and his repertoire of photocopy machines scattered about Dallas. Once a photocopy collage is scanned and copied, this same process begins anew and every scissor cut, taped line, and overlapped segment of black toner becomes vital information in composing his prints.
Scholder lives in Dallas, Texas and recently retired from the Meadows School of the Arts at Southern Methodist University.