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Stefanie SchneiderAimless (Wastelands), triptych, analog, mounted - Polaroid, 21st Century, Color2003
2003
$3,770
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£2,857.76
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€3,336.72
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About the Item
Aimless - It all began quite simply I was very happy - (Wastelands), triptych - 2003
Edition 2/5,
57 x 56 cm each, installed 57 x 180cm,
3 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper,
based on the 3 Polaroids.
Mounted on Aluminum with matte UV-Protection.
Artist inventory Number 1158.02.
Signed on Verso.
Stefanie Schneider doesn’t photograph time — she lets it leak.
Her images seep like light through torn fabric, refusing the neatness of chronology or memory. What we’re left with is not documentation, but fallout — the psychic residue of a world once lived, still echoing. The Polaroids are not just visuals; they’re afterimages of emotional events, distorted not by mishandling but by remembrance itself.
Most photography arrests time. Schneider seduces it — lets it stumble, crack, loop back on itself like heat waves off asphalt. Her expired film, far from a gimmick, is an accomplice in this dance with entropy. The chemical bleeds, the chromatic decay, the frayed emulsion — these aren’t flaws. They are collaborations with loss. And loss, in Schneider’s universe, isn’t always tragic. It’s how we touch what’s already gone.
She doesn’t shoot nostalgia. She shoots the hangover of it — when everything golden turns ghostly, when we realize the past has been performing itself inside us all along. Her landscapes of the American West are less about place and more about psychic terrain — vast, mythic, broken. Characters drift through these dreamscapes like echoes trying to remember the body they belonged to. Motels, deserts, trailers… they’re not backdrops, they’re altars — memorials to moments that maybe never fully happened.
And what makes her work radical today — in a culture obsessed with clarity, high-resolution perfection, and algorithmic memory — is that it remains defiantly unresolved. These are not stories with conclusions. They’re loops, glitches, time signatures scrawled in dust. Each photograph is less an image than a portal: a hallucination built from the unstable particles of longing.
Schneider’s desert is not a retreat. It’s a lab. A crucible where old time burns off and something stranger takes shape — a kind of memory with no original. Art here becomes survival, a rewriting of chronology into emotion. And in this hyper-local, hand-built world, isolation becomes autonomy — the rarest form of freedom: the ability to author your own mythology without interruption.
To experience her work is not to remember — it’s to misremember beautifully.
To confuse dream and event until the difference collapses entirely.
Until all that remains is the soft thrum of meaning — just beneath the chemical surface.
- Creator:Stefanie Schneider (1968, German)
- Creation Year:2003
- Dimensions:Height: 22.45 in (57 cm)Width: 70.87 in (180 cm)Depth: 0.12 in (3 mm)
- More Editions & Sizes:Not framed or mounted, Edition 4/5Price: $4,000
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652316094522
Stefanie Schneider
Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen., Bombay Beach Biennale 2018, 2019.
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