Aesthetica published a profile of Irene Scheinmann, written by Dale J Donley, tracing her move from printmaking into digital collage built from geometric forms and computer processes. The piece followed a seven-year project, The New Wilderness, and pointed to earlier etchings held in the collections of the Bibliotheque Nationale de France in Paris, The 4th Block in Kharkiv and the Ben Uri Gallery in London; two of those etchings had already inspired poems published in the Quebec journal Art Le Sabord, issue 61.
The article set out how Scheinmann uses Photoshop to compose images that move between internal, imagined landscapes and depictions of outer space, and quoted her view that an artist's practice needs to keep pace with contemporary concerns such as conflict and ecological damage. It named two works, On the Brink and Fractured II, and described a blue digital collage printed on Hahnemuhle Fine Art Paper at 70 x 55cm in an edition of fifty, offered at 900 pounds framed or 750 pounds unframed.
The feature sits early in Scheinmann's public record of coverage, made well before her digital practice found the gallery context it has since gained through Irene Scheinmann and Tabari Artspace. Read against her later output, it gives a detailed account of the printmaking foundations, and the shift from plate and paper to screen, that shaped the work she continues to show today.
