Interview of René Romero Schuler by Freya Bennett
René Romero Schuler is a California-based artist known for her textured, semi-abstract paintings and sculptures that explore feminine figures, imperfection, and emotional depth. She has exhibited internationally and published books combining her art with poetry and essays. We chatted about her process, the themes in her work, and what inspires her.
Hi René! I hope you’re well! Can you tell us where you’re answering these questions from?
My immediate answer was going to be “from my heart”, but I’m guessing you mean location- in which case, my answer is that I am in my studio here in Monterey, California.
Tell us a bit about yourself and your art.
I was born in Chicago, and have lived there, and Quito, Ecuador, and also in Texas, before finally landing here in Monterey, California. I have considered myself an artist since early childhood, and this has been my career since high school. I had a very rigorous non-academic education, working alongside some of Chicago’s greatest artists and designers, and began my career working on nightclubs, restaurants, theme parks and film sets creating everything from large-scale murals, to faux finishes, to giant relief sculptural elements. In my early 30’s I transitioned into focusing solely on my fine art, and found my voice quickly in the abstract figurative realm, where I could express myself, tell my stories, and find grounding through each piece. I am now represented internationally by some of the most wonderful art dealers out there.
Your work often centers on feminine figures and personal experiences. How do you balance the intimate, self-reflective aspects of your art with its universal themes?
I think I am always playing around in expressing the myriad dualities that exist in our lives. At the core of what I do, I am expressing something very personal and deeply resonant. At the same time, though, I am weaving in the stories of those around me- my friends, my family, random people I meet… All of these influence my work, and my figures become amalgams of all things, thus sort of becoming their own beings. In the end, each being I create tells a whole new story, and this process truly feeds my soul.
Texture and layering are central to your paintings and sculptures. Can you talk about your process and what the physical act of building and scraping layers means to you?
The texture, scraping and resulting surface tension in my work is very symbolic. Life is imperfect…WE are imperfect. It is important for me to convey that through the texture in my work because it is LIFE. We are textured beings, made up of all the experiences that have shaped who we are. Every mark has meaning. I want to celebrate these things in my work, and show how beautiful we are- not despite these scars, flaws and imperfections- but because of them.
Your art engages with societal and global issues. How do you decide which themes to explore, and how do you hope viewers respond?
Well honestly, I seek only to empower those of us who need to feel seen, heard and understood. (I think that’s all of us, right?) And I believe that will make the world a better place. It seems to me that when anyone feels alone, isolated or misunderstood, things go haywire. I genuinely hope that those who encounter my work will see a glimmer of themselves there, and that they will have a visceral connection to the message I am putting out there. I have had a life full of some very rough and some very beautiful experiences. There is depth in what I do. I want you to feel that, and to feel validated by this encounter.
Many of your pieces are semi-abstract, leaving room for interpretation. Do you enjoy when viewers see something different than what you intended?
I don’t know if I have heard anyone say that they are seeing something other than what I intended, but if that were happening, I think that would be a beautiful thing. Art is always a subjective thing, and everyone’s experience of it will be uniquely their own. I respect that and thoroughly encourage that kind of exploration.
Your books collect your artwork alongside essays and poetry. How does writing complement or inform your visual art practice?
I was a writer before I was ever able to pursue other media. Pencils and paper were easily accessible when I was very young. I started writing poetry around the age of eight. Part of that was fueled by hardship, loneliness and angst, but I also felt that it was a way to exercise my skills in speaking English, after moving to Chicago from Ecuador. I still love writing to this day, and I keep journals handy for whatever musings arise, and staying fluid in my thoughts always extends into how I approach my visual art practice.
Looking forward, are there new techniques, materials, or ideas you’re excited to experiment with in your upcoming work?
I am always ready to explore new things and see an evolution in my work. Like human evolution, it seems to come slowly, but it is there, and I am excited to see how things will develop and mature. I have some great things in the works, and though it’s really important to me to keep up with commitments to the galleries that represent me, I am a true artist in the sense that I need to take off the reins and see what happens…
