Harry Schnitzler’s work examines the architecture of promised abundance — from sacred mythologies of paradise to the contemporary systems that structure desire, reward, and belonging. Drawing from medieval visions such as the Visio Sancti Pauli, in which trees bear ten thousand fruits for the worthy, his practice reconsiders the enduring promise that obedience yields plenitude.

In MoreForYou, crushed beverage cans collected from city streets are photographed and monumentalized, transforming mass-produced containers into luminous, almost devotional surfaces. Once vehicles of branding and consumption, they become portraits of excess — fragments of a paradise rebuilt from industrial residue. Abundance is no longer imagined; it is manufactured, multiplied, and endlessly available. Yet its scale carries a quiet pressure.

Urbanites shifts the focus from object to human presence. Silhouetted figures — compressed, distilled, and materially dense — appear less as individuals in narrative space than as sedimented imprints within a larger system. They suggest a humanity shaped by circulation, repetition, and invisible infrastructures of exchange. These figures do not perform abundance; they endure it.

Across projects, Schnitzler constructs a coherent ecosystem in which paradise becomes structural rather than spiritual. Myth, marketplace, and metropolis converge. The orchard of reward mutates into the grid of contemporary life. What remains are traces — crushed surfaces, compressed bodies, fragments of promise.

Rather than offering accusation, his work reveals mechanisms: how visions of plenitude are built, sustained, and internalized. In this universe, abundance is both spectacle and sediment — radiant, excessive, and quietly formative.