With the addition of several new works and a new, streamlined curation, Schoenheimer’s solo exhibition Iterate I Elaborate has just wrapped up a year-long tour of the regional galleries of QLD, courtesy of Flying Arts Alliance Inc.


Iterate I Elaborate was first presented in March 2018 at Onespace Gallery. The third of a trifecta of solo exhibitions, two prior shows were held at the Redland Art Gallery (Perceive / Conceive) 2017 and the Stanthorpe Regional Art Gallery, (Perceive / Conceive (Expanded)) 2018. These three, connected exhibitions included both 2D paintings and 3D objects in scenarios which created a dialogue between seeing and knowing a subject – underpinning her broad investigation into perception - specifically, how artists see and interpret their world.  Ways of Seeing/Ways of Knowing at Percolator Gallery, 2016 saw the first showing of a suite of Schoenheimer’s multi-panelled paintings and assemblages, for which she is now best known.

Schoenheimer's work continues to be short listed in an impressive number of national art prizes for both painting and sculpture. These can be found on her CV. She is also one of several artists whose work has been featured as a case study in the recently released, senior, visual arts textbook Creative Inquiry,  published by Cambridge University Press, a digital version of which is available here.


Schoenheimer was selected to undertake an artist’s residency at the Nancy Fairfax Studio, Tweed Regional Gallery NSW, which she completed in 2022.

Artist's Statement

When asked, I call myself a still life painter, but really, I paint ideas rather than ‘pictures’. An 'expanded' still life format is my means of expressing these ideas.

In the series ‘Ways of Seeing / Ways of Knowing’, I set up conversations between representation and interpretation in image making.  These multi-panelled ‘storyboards’ journey from realism through abstraction, into the purely conceptual realm, establishing connections between many different modes of visual expression. 

My most recent body of work, ‘The Meaning of (Still) Life’, extends this ongoing exploration of perception and  conception, by extending upon realistic still-life images with clip-art equivalences appropriated from Google-searches. These images are often accompanied by text panels, where multiple meanings provide another interpretive layer to the reading of the works. Many works in this series address environmental themes, using symbols, metaphor and text to present narratives around biodiversity issues.

In contrast to the complex ideas underpinning my paintings, the assemblages I construct are lively abstractions made of painted, timber offcuts and found objects. Informed by the aesthetics of Modernism, these works are the result of an exhaustive process of compositional trial and error, where the element of chance is always present.

In the ‘Construction’ and ‘Wall Construction’ series of works, my painting and sculpture practices come together in a collision of colour and conceptual concerns.