bio
Liz Schneider is an artist based in New York, born in Israel in 1993 to a Ukrainian family, whose work spans painting, printmaking, ceramics, and installation. Her practice is rooted in material process and centers on symbolic animal imagery as a framework for examining the psychological, violent and symbolic dimensions of nature. Through repetition, distortion, and translation across mediums, she explores instinct, transformation, and the unstable boundary between human and nonhuman presence.
Schneider received her MFA from Columbia University (2025) and her BFA in Multidisciplinary Art from Shenkar College of Engineering and Design (2021). Her work has been presented in exhibitions across the United States, Israel, and Europe, including at Wallach Gallery, LeRoy Neiman Gallery, Nguyen Wahed Gallery, THE BLANC, SK Gallery, the Jerusalem Print Workshop, Tel Aviv Artists’ Studios, and Passerelle Centre d’Art Contemporain in Brest, France.
She is the recipient of the Elizabeth Foundation for the Arts Robert Blackburn Printmaking Award, the Andrew Fisher Fellowship, the LeRoy and Janet Neiman Gift Scholarship, and grants from the Rabinovich Foundation and Artis. In addition to her studio practice, Schneider works as a professional printer and educator, currently teaching silkscreen printmaking at Columbia University and collaborating on editioned projects at the LeRoy Neiman Center for Print Studies.
artist statement
I explore the relationship between humans and nonhumans and the differences between them. I see the human race as the most violent and cruel animal compared to any other species on earth, and I criticize it by giving the spotlight to nonhumans. I believe through observation of us (the humans), the nonhumans, and the ecological changes we create, we can learn more humility and humbleness. This observation can be used as a mirror for ourselves, and a way to critique our “superiority” as a mammal/animal.
I play around with abstract and figurative images, which usually tend to be symbolic. My colors and shapes are usually expressive, and the subjects don’t have a specific identity. For example, a horse is not a particular horse but a representation of the general horse. Sometimes, I study and sketch the subject, but the end result is created from a memory or a feeling.