Open Ended Narratives: Mixed Media Assemblages on Wood by Schroeder Cherry from February 18 to April 5, 2025 at The Stamp Gallery | University of Maryland, College Park | Written by Olivia DiJulio 

To start, could you tell me a bit about yourself and your background? 

I grew up in Washington, D.C, and I’ve always been an arts kid. When I was a child, I played with blocks, very colorful wooden blocks. I also played with puppets. I received puppets as presents when I was very young in elementary school. In fact, I still have a puppet, I have a string marionette. I started off with hand puppets and then later I got into marionettes by third grade and fourth grade. I stopped playing with puppets when I was in junior high school because it just wasn’t a cool thing to do for high school kids. In college, I started working with puppets again and I like them. Someone introduced me to a puppet master in Chicago and I ended up apprenticing with him for a while. 

When I was in school in D.C. I had the fortune of being exposed to university students from Howard University and they had put together a program called Workshops For Careers in the Arts. Although I was a visual artist, I hung out with the theater kids. I learned a lot from the theater kids, like the importance of rehearsals and preparation,  but I knew I wasn’t one of them. I still apply those lessons today as a museum educator and also as an artist. 

Do you have any experiences that have influenced your creative process?

I actually finished high school in Switzerland. I was an exchange student, and in my senior year I was taking art classes in Switzerland. I went to the Münchenstein high school, Gymnasium Münchenstein. I was exposed to how the Swiss went about doing their artwork, and that was much more regimented and formulaic, but in America it’s much more wide open. I really enjoy traveling and being lost in different cultures finding my way. There was a period where I would almost annually go to a different country just to immerse myself in another culture. How do you go about making your art when you’re exploring unfamiliar territory? All of that feeds into the art practice. Creativity is all about trying something different, something new, and I try to remind myself of that in the process.

Given the title of the exhibit, “Open Ended Narratives:” what draws you to create nonlinear stories for your work?

I’ll start off by sharing a proverb that I came across. It’s an Islamic phrase and it goes: Allah delights in truth, and varying degrees of truth, but even Allah does not like the entire truth. When I first read that, I had to meditate on it for a while. I realized, wow, this means that there is never one story. You know, Allah likes all truth, but never the absolute truth. There’s never one absolute truth. 

With my works, although I might have a narrative in mind, what I appreciate is the visitor being able to look at the work and come up with their own narrative. Sometimes I try to eavesdrop in a gallery to hear what people are saying before I identify myself as the artist. When I come to actually hear what they’re saying, I get that unfiltered response. I would say one of the things I would like people to do is to take time with the work and to look at it. I don’t really expect people to love everything. That’s not my interest. What I really am more interested in is having them just be engaged with the work and come away with something.

That actually leads into our next point. I often hear this question of “can we separate the art from the artist?” What is your stance on art being inherently political, or art for the sake of art? 

Now, I have to say, I had an experience recently in a gallery. It was about political movements and how people resist certain movements. There was this one person and she came to my work, looked at it for like a split second, saw some writing and said, “oh, propaganda.” Now, the piece itself was called Huddle, and it’s actually in the gallery right now. It’s of three teenage boys, they’re standing together and they’re on their phones and they’re communicating with each other. The text says “How Republican States Are Expanding Their Power Over Elections” so it would actually be talking about the political movement and what Republicans were doing. It wasn’t propaganda, it was news. 

The viewer brings their own baggage to the work. You can’t disengage from your own experiences when you’re looking at the work. Whatever their experiences are, they’re going to bring that to the piece. It’s always inherently political, because when an artist decides what they’re going to do, that’s an intention. It may or may not be political, but what they’re going through mentally can easily be either political or not.

The next question I want to address is, as a mixed-media artist, how do you decide on a medium? Is there a particular reason why you’re drawn to them? 

The mixed media for me is something that evolved. I was trained as a painter so I painted on canvas, I drew on paper. But I got to a point where I was abusing the canvas. I realized I needed something that had a stronger foundation because then I was attaching objects. So I went to wood, but I didn’t go to wood as a sculptor. I went to wood as a painter who just wanted to work on a flat surface. As I jumped over to these flat panels, I moved into carving and using power tools to shape the edges. I didn’t want to create pieces with straight edges on all sides. That led me wanting to experiment with the texture inside the composition. I got more power tools, I got some burners, and then later I got jigsaws and other saws that allowed me to gouge into the piece. 

How do you go about including the motifs and imagery we see in your work?

There are some things that repeatedly appear in my works and they include, keys, watermelons, playing cards and there may even be glass shards. The keys for me represent tools of access. Everybody I know has got at least one key that they’ve had for more than a year and don’t know what it belongs to. But they don’t want to give this key up. You can either close something up or you can open it up if you have the key, and the same thing goes with locks.

Watermelons for me, I’m reclaiming a negative, racist image as a positive one. First of all, I’m a vegetarian. I like watermelon. When I first moved to Baltimore in spring, it was the rainy season and there was a bumper crop of watermelons. I started eating melons every day, even for breakfast with a croissant. This is a very nutritious fruit and it has been maligned. I learned that historically, watermelons originated in continental Africa. You’ve got these different melons of different colors. In Maryland you have what you call sugar babies, and those melons are yellow on the inside. There’s a great variety of melons and even the seeds are beautiful. Doing a deep dive into the visual of the watermelon, I thought this is something really to work with and we need to pay attention to it.

I want to highlight again your puppeteering experience. That seems really important to you. What is it like as a role of a puppeteer when communicating information through that medium?

First and foremost, it’s a performance for the audience. No matter what shape the puppet is  it could be anything. It could be a book. It could be a stone, but the purpose is its movement in the narrative. I’m doing two things when I’m working with puppetry. I am a visual artist because I’m sewing and constructing them, and I’m a performer because I’m manipulating them in a show. All puppeteers are hybrid artists. When you get a group of puppeteers together, they’ll start talking about their materials and their performances. That’s what they do, it’s about how you make it and how you perform it.

Do you have any stories of performing for older audiences? I feel like puppeteering usually gets associated with children. 

Yeah, there’s a puppet. Her name is Ms. Lily, and she’s actually a puppet docent. I designed her when I was working at the Baltimore Museum of Art years ago and I wanted to create a safe place for adults to play. She’s got this white knit sweater, a red skirt, and black patent leather shoes. She became very, very popular because the adults knew that they could come play. She starts in the beginning and says “This is an adult tour. It’s not for children, if you have a child, please take them to the next room. There’s a workshop there, which is lovely for children, but this is not a tour for children.” That’s how she started the tour and then she would introduce me as her technician. I’m dressed in all black, so I’m fully visible. But she introduces me as her technician and she lets the audience know that if there are any questions, they are to be directed to her and not to the technician because the technician will not be speaking. 

Occasionally in Baltimore, we have what we call puppet slams. It’s when a group of puppeteers come together, usually anywhere from six to ten puppeteers or companies will come together and we’ll each have about five to eight minutes on stage. Sometimes those performances are more for adults than they are for children.

I think that is an amazing form of visual and performance art. Thank you for sharing your puppeteering and your mixed media processes. To wrap up our conservation, 10 years from now, where do you think you see yourself in your art?

I would say I hope to still be creating because I’m going to be one of those people who’s still creating when I’m 95, so I want to continue to do that. I would hope that I’m in a place where people are aware of my work and are enjoying it.

Thank you to Dr. Schroder Cherry for this interview, from the Stamp Gallery. 

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Schroeder Cherry’s work is included in Open Ended Narratives: at The Stamp Gallery of the University of Maryland, College Park, from February 18 to April 5, 2025. For more information on Schroeder Cherry’s work, visit https://bakerartist.org/portfolios/schroedercherry.  For more information on Open Ended Narratives: and related events, visit https://stamp.umd.edu/centers/stamp_gallery.