Selected works by Lara Schnitger

Lara Schnitger
I Want Kids


Stencil on plaid, cotton, fake fur, wood, zipper, pins

211 x 251 x 211 cm

Lara Schnitger’s fabric constructions sit uneasily as both sculpture and costume design; her figurative forms create grating parody caricatures of the most unsavoury types. I Want Kids lures with cuddly toy seduction, a goofy three legged monster decked out in Oshkosh B’Gosh plaid, its big hairy ‘slingshot’ dangling with Jolly Jumper enthusiasm. Outrageously perverse, Schnitger’s sculpture doesn’t downplay the morbidity of paedophilia, but rather questions the too-easy public perception of predators. In Brass Eye style, Schnitger addresses our darkest fears and taboos, using wry humour to expose a lurking reality.

Lara Schnitger
Grim Boy


Wood, fabric, and mixed media

180 x 150 x 51 cm

Swathed in black with fuzzy face and dangling dreads, Lara Schnitger’s Grim Boy is the epitome of skulking teenager: grody, rank, and insipid. Draping fabric over a wooden frame base, Schnitger perfectly captures the awkwardness of physical development, disproportioned and gangly, torso bugling with the remnants of puppy fat, head thrust forward in a spit of aggression. Her jostling laugh at pubescent boorishness turns quickly to horror. In the light of Columbine, and the recent spate of goth gang murders and suicides, adolescent angst poses as real threat, a demon seed bread from cultural anxiety.

Lara Schnitger
Lost Hippie


Fabric, wood, necklace, scarves, watches, earrings, pins

211 x 119 x 75 cm

Using craft media, Lara Schnitger’s portrayals of cultural stereotypes are constructed as homespun ‘truths’, made more ’endearing’ and identifiable through their beguiling materials. Standing as aggrandised puppets, her figures are abstracted exaggerations confronting preconceptions and prejudices. Lost Hippie lumbers as a lumpy elephant of obsolescence, a virtual caravan of faded patchwork and love-bead nostalgia. An effigy of bygone innocent and idealism, Lost Hippie is met with satirical contempt and suspicion.

Lara Schnitger


Wood, fabric, zippers, pins

389 x 91 x 102 cm

Working in domestic arts, Lara Schnitger’s knitted and sewn sculptures create a quirky brand of feminism. Swaddled in a patchwork of remnant fabrics, Tickler-Stick offers a dubious promiscuity. Stretching and bulging around its internal wood frame, Schnitger’s abstraction seduces with homespun tactility. Dressed up in feminine frills and alluring see-through lace, Tickler-Stick gives a weird corporeality to formalist design, suggesting something deeply naughty in traditional granny-craft.

Lara Schnitger
126 inches of fun


Fabric, cord and wood

320 x 208 x 172 cm

Lara Schnitger’s 126 Inches of Fun towers as an Amazonian monument: pink, sexy, and larger than life. Stretched around a wooden support, lengths of silky fabric and black lace trestle an invisible bulking form like a ridiculously contrived girdle or fashion-disaster evening gown. Emblazoned with suggestive text Schnitger’s sculpture is an icon of feminine celebration, its diva-esque architecture posing as a bulwark of womanly wiles.

Lara Schnitger
Cupidity (After Bronzino)


Mixed media

208.3 x 228.5 cm
Lara Schnitger
Mistress Of The Boa


Mixed media

213.3 x 176.5 cm

Other Resources
Additional information on Lara Schnitger
Modern and contemporary artists and art; Lara Schnitger - Lara Schnitger at Anton Kernby Eleanor Heartney
In an intriguing set of videos and photographs, this young Dutch artist explores the use of the human body as sculptural material. While similar territory was investigated by artists such as Bruce Nauman and Dennis Oppenheim 25 years ago, Schnitger gives her work a fresh spin.
Additional images and Lara Schnitger biography
The artnet hit list by John Mendelsohn: Lara Schnitger
In Lara Schnitger's hands the grotesque is not awful, but weirdly playful. This spirit continues in the "Face Fugues," a series of symmetrical photocollages in which multiple fingers make human faces into monsters. - Lara Schnitger; My other car is a broom
Lara Schnitger’s work is characterized by an inventive use of textiles. She uses pieces of fabric to create both intimate sculptures and architectural installations. Her work, in which texts also play an important role, deals with eroticism, humour and politics. - Lara Schnitgerby Gregory Williams
Lara Schnitger seems to take a similarly obsessive pleasure in manipulating objects in her chosen sphere, the musty world of cheap textiles. Filling up the gallery, the artist installed a forest of awkward forms that jutted out in all directions and had to be carefully navigated, suggesting the abundance and eclecticism of a flea market. - Lara Schnitger: Triple Candie / Anton Kern
Schnitger’s work is the subject of concurrent gallery shows at Triple Candie and at Anton Kern Gallery; her eccentric, erotic sculptures are the main event in each. Her sculptural m.o. is to wrap a network of wooden planks in fabric, sometimes bearing color-coded associations—pantyhose brown, pink and to accessorize with lace, tassels, “wads” of cotton, and fake hair (bush?). - Lara Schnitger by Michael Paulson
Lara Schnitger is showing large-scale sculptures at Anton Kern Gallery that expand her exploration of the boundaries between craft and high art. Using avariety of materials, including wood, fabric, and faux fur, Schnitger’s three-dimensional collages reference domestic architecture, fashion, and labor.

Lara Schnitger and Matthew Monahan have spent the last year on a residency at the Kitakyushu Centre for Contemporary Art in southern Japan. They used this period to prepare their first collaborative project for an exhibition at Stedelijk Museum Bureau Amsterdam. - Lara Schnitger, Crazy Horses & A Display par Emmanuel Posnic
La galerie Air de Paris intensifie son action. Elle inaugure un nouvel espace jouxtant l’ancien et profite de l’événement pour organiser deux expositions aux contours bien différents.