A test.mes nt to the visual potency of Dana Schutz's distinctive artistic vernacular, Glider is a painterly tour-de-force, enveloping the viewer in a mesmerising cascade of dystopian figuration. Executed in 2015, the present work epitomises Schutz's celebrated visual style, through which the artist powerfully fuses abstraction and figuration by means of expressive imagination, fragmented bodies, and thrillingly impossible scenarios. Within the ravaged pictorial space of the present work, a flurry of fractured shapes and planes resolve to reveal a mythic central figure: teeth bared, arms akimbo, this creature is at once fantastical and ferocious, dwelling in the realm between deity and monstrosity. Exhibited at the artist's acclaimed Dana Schutz: Fight in an Elevator exhibition at Petzel Gallery, New York, in 2015, Glider is equal parts macabre, comical, and psychologically complex, embodying the artist's visceral and mysterious vision. 

As bewitching as any Cubist portrait by Pablo Picasso, the central figure's face of Glider appears nestled between a wooden chair; this red figure with elongated breasts is surrounded by various glasses of water and straws, capturing a private moment of solitude. The fractured face of the Picasso-esque figure expresses a sense of shock and ecstasy within the chromatic background of neon colours and crisply delineated shapes, the head leaning back and inviting the viewer into this intimate moment. An artist whose work has been described as "teetering on the edge of tradition and innovation," Schutz's paintings mine both art history and her own potent visual imagination to collapse t.mes , space and reason within her two-dimensional picture plane. Powerfully exemplified in Glider, her oeuvre draws on the legacies of such touchstone figures as Wassily Kandinsky and Max Beckmann, while always allowing Schutz's own unique talent to explore the expansive possibilities of the painterly medium today. The artist describes, "My paintings are loosely based on metanarratives. The pictures float in and out of pictorial genres. Still lifes become personified, portraits become events and landscapes become constructions. I embrace the area between which the subject is composed and decomposing, formed and formless, inanimate and alive." (The artist, quoted in "Painting 2004: Group Exhibition", Press Release, Victoria Miro Gallery, London 2004). 

Painted in 2015, a period when Schutz often conceived of figures trapped in enclosed spaces or environs such as elevators, Glider is a vast, exhilarating work which confronts the viewer head-on, its cascading fractured shapes and crisp planes slicing through the familiarity of figuration and objectivity. The ravaged pictorial space is nevertheless radiant, luminous in a chromatic unity anchored by Schutz's signature use of saturated colour. Testifying to her international acclaim, Schutz's paintings are held in the permanent collects ions of the Museum of Modern Art, Solomon R. Guggenheim Museum and the Whitney Museum of American Art in New York; the Museum of Replica Handbags s, Boston; the Museum of Contemporary Arts, Los Angeles; the Nerman Museum of Contemporary Art, Kansas; and the Tel Aviv Museum; Israel, among many others.

繪 於2015年的《活動式躺椅》是一幅充分展現戴娜・舒茨別樹一幟的藝術語彙的畫作典範。她擅長運用豐沛生動的想像力，糅合抽象與具象表現手法，用扭曲破碎的肢體和異想天開的場景將觀眾包圍在一個詭異陰森的世界中，洋溢的非一般視覺撼動力可見一斑。本作紛亂的畫面中，多個破碎支離的形狀和平面拼湊出成一個虛幻人物，她聳立於畫作中心，齜牙咧嘴、兩手擱在椅子的扶手上，既奇幻又兇惡，亦神亦魔。《活動式躺椅》曾參展藝術家在2015 年於紐約Petzel畫廊舉行，廣受好評的「Fight in an Elevator」展覽。本作既恐怖又古怪，呈現的複雜心理狀態反映了舒茨內心深處的神秘想像。

《活動式躺椅》就如巴布羅・畢加索的立體派肖像畫一樣引人入勝，描寫了畫中人獨處的靜謐時刻。偎依在木椅上的人物肢體呈紅調，周遭放了水杯和飲管，胸部長垂，四碎分解的五官如畢加索筆下常見的臉龐，在霓虹色彩和清晰勾勒的斑斕幾何背景烘托下，表現出震驚與狂喜，仰首後靠的姿態彷彿向觀者發出共情的親暱邀請。舒茨的作品被形容為「在傳統與創新的邊緣搖來晃去」，一邊廂借鑒藝術歷史名作，另一邊廂引入自己既豐富又異想天開的視覺語彙，在畫作的二維國度裡衝破時間、空間和理性的藩籬。舒茨的作品參考了華西里・康定斯基和馬克思・貝克曼等巨擘的風格，同時不斷探索顏料的無限可能性，這一點在本作中得到強而有力的佐證。舒茨表示：「我的畫作大致建基於後設敘事，不會拘泥於類型，靜物畫會擬人化，肖像畫會變成時間中的某一刻，風景畫也會成為虛構出來的東西。我喜歡遊走於主題構成與分解、有形與無形、靜與動的狀態之間。」 （舒茨，摘自維多利亞米羅畫廊的群展「Painting 2004: Group Exhibition」之新聞稿，2004 年 3 月）。

《活動式躺椅》繪於2015 年，當時的舒茨經常構想人物被困在像電梯般的密閉空間裡。這幅恢宏、引人注目的話作與觀者正面對峙，屈折的圖形傾瀉而下，碎片的銳角劃過畫面，劃破觀者對具象客觀現實的感知。一番蹂躪過後，以舒茨標誌性的飽和色彩為主軸的畫面空間變得更明艷奪人，融潤有致。舒茨蜚聲國際，畫作獲多間博物館永久收藏，當中包括紐約現代藝術博物館、所羅門・R・古根海姆美術館、惠特尼美國藝術博物館、波士頓美術館、洛杉磯當代藝術博物館、堪薩斯州尼爾曼當代藝術博物館、以色列特拉維夫藝術博物館等。