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Stefanie Schneider
Alice (Stranger than Paradise), analog, 5 pieces
2004

Name: Alice (Stranger than Paradise), analog, 5 pieces
Brand: Stefanie Schneider
Price: 9399.48 AUD
Availability: InStock
Rating: 4.9 (37 reviews)

$6,000

£4,599.43

€5,264.43

CA$8,570.75

A$9,399.48

CHF 4,869.87

MX$112,942.15

NOK 61,303.12

SEK 57,534.73

DKK 39,330.18

About the Item

Alice (Stranger than Paradise) - 2004 38x37cm each, installed with gaps 38x210cm, Edition of 2/7, 5 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, based on 5 expired Polaroids. Certificate and signature label. Artist Inventory No. 728.02. Not mounted. Stefanie Schneider’s work is not merely photographic; it is alchemical. She captures the unseen glow of time, the way light dissolves into memory, the way nostalgia is not just recalled but felt. Her images do not conform to the rigid structures of photography as mere documentation; they unravel as if discovered in a forgotten archive—fragments of lives never fully lived, yet profoundly known. At the core of Schneider’s work is the theme of impermanence. Shooting exclusively on expired Polaroid film, she embraces the medium’s natural unpredictability. The chemical distortions, the surreal color shifts, the dissolving edges of her images all mirror the transient nature of human experience. Her process is not about control; it is about surrender. It is about the magic that happens when precision meets fate. This reverence for the ephemeral places her at the crossroads of American and European artistic traditions. She evokes Ed Ruscha’s obsession with the American landscape, Georgia O’Keeffe’s rich, burning deserts, and the aching loneliness of Edward Hopper’s figures. And yet, she is uniquely apart. Where Ruscha found humor, Schneider finds longing. Where Hopper depicted solitude, she conjures ghosts. Her vision of the American West is not one of conquest, but of disappearance. Born in Germany in 1968, Schneider’s fascination with the American mythos is that of an outsider looking in. But hers is not a romanticized vision; it is a forensic excavation of dreams abandoned. She sets her subjects in apocalyptic landscapes—run-down motels, empty highways, desolate oilfields, trailer parks scorched by the sun. These are the places where America’s promises expired—just like the very film she uses to document them. But within this ruin, she finds poetry. Her photographs are not staged in the conventional sense, yet they are deeply cinematic. There is always a story unfolding, a sense of a scene beginning or ending just outside the frame. The figures in her work—lovers, drifters, dreamers—exist in a liminal space, caught between past and future, presence and absence. They are echoes, residues of love, as Schneider describes them, lingering like ghost limbs in a world that has already moved on. This notion of absence is central to Schneider’s work. In an interview with Artnet in 2014, she spoke about how her own experiences of pain and loss fuel her images: “My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.” She understands that nostalgia is not merely about longing for the past; it is about feeling the past linger in the present. Her images are haunted not just by what is there, but by what is missing. Schneider’s devotion to Polaroid is more than an aesthetic choice; it is a form of historical resistance. At a time when Polaroid, a defining symbol of American photography, was facing extinction, she refused to let it disappear. By preserving and elevating the medium, she has become both an innovator and a guardian of photographic history. The film’s unpredictability is not a flaw but a feature—an artistic collaboration between chemistry, time, and intuition. Where digital photography offers sharpness and perfection, Schneider’s work embraces the beauty of imperfection. Each crack in the film, each hazy vignette, is a reminder that nothing lasts—and that is precisely why it matters. Her work is often compared to cinema, but not the Hollywood ideal. Rather, it evokes the poetic dreamscapes of Wim Wenders, the restless yearning of Michelangelo Antonioni, the disquieting beauty of David Lynch. Her landscapes feel like remnants of forgotten films, still flickering even after the reel has run out. Her characters are waiting for something—love, escape, revelation—but whether it arrives is uncertain. Perhaps the waiting itself is the story. Schneider’s journey has taken her from Berlin to the high desert of Southern California, where she has built a creative sanctuary—an extension of her vision, a place where art and life blur into one. This transition mirrors her artistic ethos: reinvention without erasure. Just as her images capture the past dissolving into the present, her own trajectory as an artist reflects this delicate balance between what was and what is yet to come. Her work exists at the edge of memory and dream, where reality begins to unravel into something more mysterious, more fragile, and ultimately, more true. Stefanie Schneider does not simply document the world—she reveals the sensation of experiencing it, of losing it, of trying to hold onto something that is already slipping away. Her images are not just photographs; they are relics of longing, luminous and fleeting, like the last light of a desert sunset. To look at a Stefanie Schneider photograph is to feel the weight of time pressing in, to hear the echoes of a story never fully told, to stand at the intersection of beauty and loss. It is to understand that imperfection is not a flaw, but a language. It is to witness history—not as a fixed past, but as something still breathing, still changing, still waiting to be seen. 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.

Creator:
Stefanie Schneider (1968, German)
Creation Year:
2004
Dimensions:
Height: 14.97 in (38 cm)Width: 82.68 in (210 cm)Depth: 0.04 in (1 mm)
Medium:
Archival Paper,Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU652316062392

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