Paloma Schnitzer’s work is rooted in a critical engagement with the images that permeate everyday life, focusing on the relationship between devices, their social operations, and the traces they leave behind.

She produces film, video-sculptures, objects, and prints, often beginning with something small {a fragment, a copy, a captured still} which she manipulates through repetition, distortion, stretching, and deliberate error. She works with transparency and layering, using materials that shift between opacity and translucency, allowing things to be covered or discovered. Monica {her long-time Xerox machine} and her growing collection of CRT monitors play a key role in this stage, generating altered textures and interferences. Her relationship with these machines directly informs the visual and material language of her work, shaping its tactile, time-based aesthetics.

Investigation serves as a central thread and starting point for her practice, guiding her exploration of the socio-political relevance of images and language. A key aspect of her research involves memory, how personal and collective dimensions overlap and influence one another across time, space, and media. By questioning, breaking down, and reconfiguring visual and textual material, she looks for hidden patterns and alternative ways of seeing.

Beyond the production of artworks, she is interested in practices such as publishing, teaching, and curating, understood as essential parts of her work. She is particularly interested in exploring alternative models of display that make room for unfinished, process-based, or discursive formats.