Schreiber’s photographs celebrate the potential of the digital to suggest heightened emotional and
intellectual content regardless of “factuality”. 99_1 in which a sea of concrete meets a pair of trees
on either side of the shot, is representative of the longing created by almost all of Schreiber’s
photographs: where is this place, the viewer asks, how can I find it? Of course, it is not a real place,
but rather a digital linking of a concrete plaza and an expanded sky resulting in a monumental
reflection on the succumbing of the pastoral landscape to the onslaughts of highways.

For Schreiber, digital technology enables him to comment of the “real” as he sees it without actually
replicating the real in an objective photograph, an enterprise, as we have seen, that is impossible
to begin with. It is interesting that Schreiber uses the most current digital tools to resurrect a longing
for the landscape and for the comforting symmetries of modernism. His aesthetic is clearly
classical, similar to portraiture in which the subject of the photograph is fully centered, supported by
elements that serve to highlight the focus of the subject and the viewer’s identification with it.

In 02_6, an abandoned farm, stripped by time to its rotting frame, sits along a road in northern France
surrounded by an early morning mist. Schreiber’s alterations were minimal, he reports, apparently
because the “perfect moment” presented itself. Perhaps it was the dimly viewable tress on a knoll in
the background that was his real subject here, for Schreiber wants his viewers to look closely at the
work and, in time, to find elements not apparent at first.

Michael Rush, excerpt from his text for the catalogue "Staub bauen", 2006