Artist

David G. Schneider began making contemporary oil lamps in 1995 in an effort to study the
wicking capability of a wick and the characteristics of the steel, aluminum, brass, glass and oil resistant tubing used in them.

David, an architect and the City of Louisville's architect from 1979 to 2000, received his bachelor's degree in architecture from the University of Kentucky and his master's of Architecture and Urban Design from the University of California. He has taught architecture at the Teatro Olympico in Vicenza, Italy, and Assistant Professor at the Virginia Polytechnic Institute's College of Architecture. His architectural background is evident in the designs of his sleek contemporary oil lamps.

Contemporary, that defines David's oil lamps are lamps for now and for the future. Since
electricity, oil lamps have become basically obsolete.  Candles are used for the holidays
and special occasions to create that glow of brilliance and warmth. When electricity or other
sources of energy are not available, the use of candles is a utility that has been around a little
after the discovery of fire. With the world turning green, new fuels are being developed that
emit less pollution are brighter and more efficient when burning then lamp fuels of the past. Artlamp's new oil lamps are designed and developed for this time. Along with being a work of art they are utilitarian, efficient, using the least amount of fuel to obtain the most light. Artlamp's contemporary oil lamps are dependable, durable, easy to use and maintain and there when you need it.

Since 1995, Artlamp has continuously developed new and improved contemporary oil
lamps. All Artlamp's new contemporary oil lamps are included in this web site..

This work is influenced by various periods of design:, DeStijl, Bauhaus, Minimalist, Constructivist, New England Shakers, Kentucky Shakers and General Systems Theory. The  most influential architects of DeStijl were; J.J.P. Oud and Gerrit Rietveld. The most influential Artist was Theo van Doesburg. Construction, a large component of the period is attuned to the parts to insure that no part dominates or is subordinate to the others. In this way, the whole stands freely and clearly in space, and the form stands out from the material.

De Stijl- is Dutch for The Style. Not style as implied in styling (car styling, etc.) - a package
wrapped   round the working   parts, the icing on the cake - but   Style as the   integral
relationship of the parts to the whole and the whole to the parts. This relationship is the
same idea presented by Ludwig von Bertalanffy in his book titled General System Theory.
Bertalanffy writes, "every living organism is essentially an open system.    It maintains
itself in a continuous inflow and outflow, a building up and breaking down of components."

There is a connection between relationships, parts, components and the configurations that
defines them. Aldo Van Eyck a Dutch architect, said, it is all in the joint in whatever
we make. What we are after is a yet an unknown configuration discipline, it is hard to
tell anyone about it until they make it theirs.