C Print Color Photography

On the Road (Till Death Do Us Part) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. ...

Untitled (Fairytales) - 2006 49x48cm, Edition 2/10. Archival C-Print, based on the original Polaroid. Certificate and signature label. Artist Inventory # 20422.02. Not mounted....

Meeting in front of Church (Sidewinder) - 2007 Edition 2/5, each 30x37cm, installed 30x160cm. 4 analog C-Prints, hand-printed by the artist, based on the 4 oirginal Polaroids. Ce...

'Milky Way' on the road to Cape May from Richard Heeps Jersey Shore series. Taken in April 2013, this picture was first executed in Richard's darkroom in October 2020, he presents it...

"4 Corners I" (Last Picture Show) - 2005 58x57cm, Edition of 5. Analog C-Print, hand-printed and enlarged by the artist on Archive Fuji Chrystal Paper, based on a Polaroid, Not m...

'Sucking / Brushing' (Sidewinder) 2005, Edition 3/5, 6x48x59 each, 1x60x48cm, installed including gaps and white spaces 60x423cm, 7 pieces, 7 analog C-Prints, hand-printed by th...

A celebration of the art of graffiti drawn from various locations around the world… these pieces are part reality and part creation emphasizing the often ephemeral nature of street ...

Strips of colour from a rusting building in the Hudson Valley, New York. – Cawston’s search for these lost spaces of distressed beauty have taken him from Bristol to Burma, Mexico to...

Come walk with me - 2020 - 20x20cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-100...

I don't like it (Till Death do us Part) - 2008 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. A...

'Eavesdropping' (29 Palms, CA) - 1999 Edition of 10, 50x50cm. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist inventory No. 18257. Not mounted. ...

Solitude - 2022 [ Shot on location in Oslo Norway in the spring of 2022 and influenced by themes of alienation and self-imposed isolation] Edition of 10 - 20 x 20 cm Archival C-Pr...

Heidler & Heeps Vinyl Collection Set of Three Framed Artworks. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have coll...

After Hours (Shot 2019 on 600 film) Influenced by American Neo Noir and films such as The Long Goodbye, Point Blank, and LA Confidential where suburbia is not what it seems. 20x20c...

Palm Springs Palm Trees (Californication) - 2021 50x50cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory Number 23820. Not mounted. Schneider harnesses the unpredictable chemical mutations of expired Polaroid film, where bursts of color erupt across the surface, destabilizing the photograph's traditional allegiance to reality. These vivid distortions draw her characters into ethereal, trance-like dreamscapes. Like fleeting sequences from a vintage road movie, Schneider’s images shimmer with a transitory quality, dissolving before any definitive conclusions can be drawn. Their ephemeral essence is conveyed through subtle gestures and enigmatic motives. Refusing to yield to the constraints of reality, Schneider’s work keeps alive a delicate interplay of dream, desire, fact, and fiction, blurring the boundaries between them with poetic ambiguity. Stefanie Schneider’s work echoes the heart of American art, channeling the cinematic nostalgia of Ed Ruscha’s roadscapes, the stark sensuality of Georgia O’Keeffe’s deserts, and the haunting solitude of Edward Hopper’s paintings...

Skiers relax in deckchairs on the slopes at Verbier in Switzerland, 1964. Skiers at Verbier, 1964 Archival pigment print Estate stamped and hand numbered edition of 150 with cer...

Danger, Danger - 2017 Edition 1/7 plus 2 Artist Proofs. Based on a Polaroid, Digital C-print, Not mounted. Signed on the back and with certificate. Artist inventory PL2017-159 Kir...

Boccia VI (Beachshoot) - 2005 38x36cm, Edition of 10. Digital C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 1467. Not mounted. featuring Cami...

TABACCHI at Twilight from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project featuring at the Affordable Art Fair Milan 2019 and the ...

Someday Soon (Stage of Consciousness) - 2007 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. ...

On track - 2020 Edition of 7 plus 2 Artist Proof Archival Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-901. Not mounted. Kirsten...

Erik at fifteen - 2019 - 20x25cm, Edition of 10, plus 2 Artist Proofs. Photograph printed on Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not m...

Hollywood (Instantdreams) - 1998 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Artist inventory...

Sunset (Till Death do us Part) - 2005 90x112cm, Edition 2/5. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Artist Inventory No. 9493.02. Signature l...

For Your Eyes Only (Till Death Do Us Part) - 2005, 38x37cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist ...

Portrait photograph From Richard Heeps 'Man's Ruin' Series. It is part of a sequence of artworks 'Wendy Flaming Eyeball', 'Wendy Resting' & 'Oldsmobile and Sinful Barbie's' taken at ...

Coney Island Memory Sequence (Stay) - 2006 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 2292 Not mounted...

Wonder Valley (Till Death Do Us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Art...

Heidler & Heeps Vinyl Collection Set of Four Framed Pop Art prints. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully...

TABACCHI at Twilight, one of a sequence of artworks from Richard Heeps series, 'A Short History of Milan' which began in November 2018 for a special project featuring at the Affordab...

Airstream Trailers (American Depression) - 2017 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Invent...

Downtown LA (Stranger than Paradise) - 2005, 40x48cm, Edition of 10, plus 2 Artist Proofs. 
 Archival C-Print, based on the original Polaroid. Certificate and Signature label. 
...

This Side, a pink artwork in the Heidler & Heeps B Side Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have col...

Out Islands - Luxury Charter Yachts Bahamas Daytrip Photograph by Slim Aarons 16" x 20" print. Limited Edition Estate Stamped Print. Edition of 150. Printed Later. 'Out Islands' is...

Locker Room (Suburbia) 2004, 40x40cm, Edition of 1/5, analog C-Print based, hand-printed by the artist on Fuji Crystal Archive papter, matte surface in her own Color lab in Berlin ba...

Accident III (Stay) -2006 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory # 5339. ...

Magic Hour (Musica Poetica) - 1999 Edition 3/10, 44x59cm. Analog C-Print, hand-printed and enlarged by the artist, based on the Polaroid. Certificat...

1981, a bright blue and orange artwork in the Heidler & Heeps B Side Vinyl Collection. Acclaimed contemporary photographers, Richard Heeps and Natasha H...

Chalk Streams 10, 2023 - Biodiversity Ecosystem English Woodland New Forest by Ellie Davies Chalk Streams 10 is a stunning Digital C-Type Print on Fuji Maxima Matte Paper. This size...

Ensign Broderick I (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 100x120cm, Edition 3/5. Archival C-Print, based on the Polaroid. Signature label and Cer...

How can you do this to me? (Till Death do us Part) - 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #88...

Seascapes 9, 2020 - Water over Trees in Woodland Forest in Natural Landscape by Ellie Davies Seascapes 9 by Ellie Davies is a stunning Digital C-Type Print on Fuji Maxima Matte pape...

Boxing Elena (Odd Stories) - 2014 Published in Carmen De Vos's new book 'The Eyes of the Fox'. 80x60cm, edition of 5, Digital archival pigment print 
based on an original Polaroi...

Untitled (The Last Picture Show), 2005 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original SX-70 Polaroid. Inventory No. 781.02. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland...

Bourbon (Suburbia) - 2004 Edition of 2/5, 60x80cm. Analog C-Print, hand-printed by the artist based on the Polaroid, mounted on Aluminum with matte UV-Protection. Artist Inventor...

Immaculate Springs Set with Jacinda Barrett - 1998 Edition of 10, plus 2 Artist Proofs. 20x20cm, Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artist i...

Ghost Rider Cowboy (Blue), pop art photograph by Natasha Heidler. Natasha Heidler’s seductive images are a playful collection of contradictions. Ghostly outlines collide with vibran...

Strata XVII is a limited-edition photograph by contemporary artist Luca Marziale. This photograph is sold unframed as a print only. It is available in 2 dimensions: *76.2 cm × 76.2...

Pebbles (Zuma Beach) - 2004 38x37cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20425. Not...

In Hiding (29 Palms, CA) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #5723. Not...

The Letter (Till Death Do Us Part) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 2...

A Vision you can't Capture, no 03 (29 Palms, CA) - 2007 125x172cm, Edition 1/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted on Aluminum with matte...

Love you Actor Girl (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist...

Desert Playground (Oxana's 30th Birthday) - 2010 38x36cm, Edition of 5. Analog C-Print, hand-printed by the artist on Archive Fuji Chrystal Paper, matte surface, based on the Pol...

Acclaimed contemporary photographers, Richard Heeps and Natasha Heidler have collaborated to make this beautifully mesmerising collection. A celebration of the vinyl record and analogue technology, which reflects the artists practice within photography. This record features a muted tone mauve Joy Division flexi-disc vintage...

'Renée's Dream' no. 8 (Days of Heaven) - 2005 26 x 32 cm, Lumas Edition of 100, Artist Proof 4/4. Archival C-Print, based on the Polaroid. Artist inventory 8079. Signature Label...

Digital C-print Signed and numbered, verso 20 x 20 inches (Edition of 10) 30 x 30 inches (Edition of 5) This photograph is offered by ClampArt, located in New York City. Please no...

Genie (29 Palms, CA) - 2008 Edition of 5, 75x93cm analog C-Print, hand-printed by the artist, Mounted on Aluminum with matte UV-Protection, Signed on verso, artist Inventory No. ...

Wonder Valley (29 Palms, CA) - 2009 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature Label. Artist inventor...

Wisbech St Mary's Wash Looking North, British landscape photograph from Richard Heeps series, 36 Minutes in Cambridgeshire. Richard Heeps was awarded a Millennium Year of the Artist...