Cornelia Schulz continues to present a vibrant vigor unique to artists of any age. For over 46 years she has honed her skills in abstract paintings of complex shape and color.
Studying sculpture at Los Angeles County Art Institute in the 1950’s, Schulz learned 3-D modeling techniques in steel and wood which proved important in subsequent years. Her altered rectangular shapes are hand built wood supports, stretched with canvas. Using a knife, Schulz slices, swings and swirls paint into a complex brew of vibrant color, gestural oppositions and hair raising improbabilities. The paintings while clearly 2-D, hold the viewers interest as sculptural objects of unerring integrity. While seemingly wild and untamed, her forms speak of tempo and harmony, a unique distillation of intent and accident only a master can impart.
Kenneth Baker, who has reviewed every Cornelia Schulz exhibition since the 1990’s comments, “For some years, Schulz’s art seemed to build and comment on the project of activating paintings’ perimeters that connects Barnett Newman (1905-1970), Ellsworth Kelly, Frank Stella and Elizabeth Murray (1940-2007), among others. Like those predecessors, Schulz treated the outer contours of a painting as a troubled boundary between what she could control and the uncontrollable, between domains of intended meaning and of misreading and chance.”
Cornelia Schulz is included in national and international collections. In 2002, Schulz retired from the University of California, Davis, where she taught for 30 years and twice chaired the Fine Art Department.