Open Ended Narratives from February 18th to April 5th, 2025, at The Stamp Gallery | University of Maryland, College Park | Written by Noa Nelson

Schroeder Cherry’s mixed-media assemblages do more than capture a moment in time—they interrogate the ways history, culture, and personal experience intersect. Using found objects like keys, locks, playing cards, and discarded picture frames, Cherry constructs layered compositions that question who has access to spaces, how identity is framed by society, and what stories are remembered or erased. His work invites viewers to engage actively, bringing their own interpretations and histories into the narrative.

Traditionally, frames act as boundaries, defining the edges of an image and enclosing it within a fixed space. But in Cherry’s work, frames are more than decorative—they become part of the story. They act as textured, layered elements that shape how we move through an image, drawing attention to what is included, what is left out, and how we are meant to engage with the subject matter.

Cherry often acquires frames from a framer friend, repurposing discarded samples and integrating them into his work. This use of found materials mirrors the larger themes of his assemblages: history is not static, and objects—like stories—carry meaning beyond their intended function. His frames don’t just enclose a narrative, they challenge viewers to consider how images are constructed and how context shapes perception.

One of Cherry’s recurring themes is the adultification of Black children—the societal tendency to perceive Black youth as older, less innocent, and more responsible for their actions than their 

white peers. His work forces us to confront the unsettling question: At what age does a Black child transition from being seen as a child to being perceived as a threat?

This question is particularly poignant when viewed through Cherry’s layered, textured compositions. His frames become both a protective border and a confining structure, much like the ways society simultaneously scrutinizes and controls Black bodies. By incorporating objects like playing cards—a metaphor for the unpredictability of life and the unequal hands dealt to individuals—Cherry highlights the systemic biases that dictate how Black children are viewed and treated in different spaces.

Cherry’s travels, particularly to Salvador, Brazil, have deeply influenced his work. As home to the largest population of African diaspora outside of Africa, Salvador’s history is inseparable from colonialism, the transatlantic slave trade, and the ongoing complexities of race and identity.

In his work, Cherry integrates symbols of access—keys and locks—to question who is permitted entry into certain spaces and who is kept out. A small bucket at his desk collects donated materials, later incorporated into his pieces, reinforcing the idea that history is built from what is left behind. His depictions of barbershops—intimate spaces of community and vulnerability—highlight places where Black men find both refuge and connection. The act of allowing another man to hold a razor to one’s throat speaks to an unspoken trust, a contrast to the often hyper-policed existence of Black men in public spaces.

Cherry’s use of playing cards underscores the unpredictability of life and the systemic structures that dictate opportunity. Cards hold different values depending on the game, just as people’s worth is often measured differently based on race, class, and circumstance. His works challenge viewers to consider: What do you do with the hand you’re dealt in life?

Similarly, keys function as a powerful metaphor for access and exclusion. Keys open doors, but they also lock them. They represent opportunity, security, and control—who gets to enter, who is kept out, and what barriers exist between individuals and the spaces they seek to inhabit. People form deep attachments to their keys, a subconscious acknowledgment of their importance in navigating daily life. By incorporating these objects into his work, Cherry asks us to consider the power structures that determine who holds the keys to opportunity and who remains locked out.

Schroeder Cherry’s work is deeply layered, both visually and conceptually. His art challenges the ways identity is framed—how history, access, and systemic biases shape the experiences of Black communities. Through his use of mixed media, he reframes symbols often associated with exclusion, reclaiming them as tools of empowerment and storytelling.

Just as life unfolds in unpredictable chapters, Cherry’s work resists neat conclusions. His compositions remain open-ended, inviting viewers to bring their own stories, experiences, and interpretations into the frame. And in doing so, he reminds us that narratives are never static—they are constructed, challenged, and reframed with each new perspective.