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Lana Schneider (°1991, Wilrijk, Belgium) is a multidisciplinary artist based in Ghent. She studied Drawing and Fine Arts at KASK School of Arts.

Her work explores how memories, observations, and personal text fragments can be translated into systems of notation. Central to her practice is the tension between scientific notation and artistic mark-making, and the particular beauty embedded within systems of ordering, measuring, and recording. Her visual language draws equally from mathematical structures, notational forms like charts and cartography, and the tradition of botanical drawing.

Working across ceramics, murals, paper drawings, and installation, Schneider develops layered compositions built from grids, symbols, handwritten text fragments, repetitive line work, and accumulative patterns. Writing plays an essential role within her work: traces of stories and thoughts are embedded into the image, sometimes legible, sometimes obscured. Through this shifting balance between readability and illegibility, she creates space for interpretation, allowing viewers to construct their own associations and narratives.

While much of her work is highly detailed and meticulous, Schneider is equally interested in monumentality and architectural scale. Distance, proximity, and movement through space become part of the reading process, revealing or concealing different layers within the work.

Alongside her individual artistic practice, Schneider is co-founder of Playfield, an interdisciplinary artist collective working at the intersection of performance art, visual art, technology, and science. Within Playfield., she works as a theater maker, visual artist, scenographer, researcher, and writer.

Performative projects on which she collaborated were presented internationally in venues and festivals including HAU Hebbel am Ufer, Kunstenfestivaldesarts, PACT Zollverein, NEMO Science Museum, Wexner Center for the Arts, and Lafayette Anticipations.

Her visual work is currently being shown in the exhibition “BORDERS” at GUM (University Museum of Ghent). Earlier exhibitions include solo and group presentations such as LINKS at Plagiarama Brussels (2014), TO-MORROW or TO-DAY (2013) in Ghent and Leeds, Young Monomaniacs at WM Art & Visibility Brussels (2014), and The Big Draw in Leuven (2015).

Research and artistic experimentation are central to Schneider’s practice. Recent projects include RUMOR // Unfolding Futures, an extensive participatory research trajectory developed with Playfield, investigating speculative futures, collective imagination, and knowledge sharing. The project became the subject of an academic case study in collaboration with Ghent University, with findings to be published in Digital Creativity. Her work and methodologies have also been discussed in publications and academic research focusing on participation, procedural dramaturgies, and contemporary performance practices.