Stefanie Schneider
Foreverly - The Girl behind the White Picket Fence
2013

Name: Foreverly - The Girl behind the White Picket Fence
Brand: Stefanie Schneider
Price: 328.23 CHF
Availability: InStock
Rating: 4.9 (37 reviews)

$400

£303.25

€349.57

CA$563.34

A$624.70

CHF 328.23

MX$7,632.74

NOK 4,106.63

SEK 3,854.78

DKK 2,609.63

About the Item

'Foreverly' (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory Nr. 11912.07 Not mounted. Offered is a piece from the movie: The Girl behind the White Picket Fence A tale told with blemished and expired Polaroid film about the hopes and dreams of a newly orphaned girl who lives in the Californian desert in an old trailer. -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monologue - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girls journal (Palms Springs life magazine / Carolyn Ryder) Stefanie Schneider lives and works in the Hi-Desert of Southern California where her scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambiance for loosely woven story lines and a cast of phantasmic characters. Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dream scapes. Like flickering sequences of old road movies, Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction. “It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time when the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”) The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts, and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st centuries? Stefanie Schneider was born and raised in Germany but lives and works in Southern California. Exploring the American dream and capturing it with Polaroid instant film. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambiance for loosely woven storylines and a cast of phantasmic characters that reflect a part of the narrator's life told from her perspective. Often about love, communication. sexuality and relationships. Schneider works with the chemical mutations of expired Polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dreamscapes. Like flickering sequences of old road movies, Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction yet they also explore the relationship between the medium and the viewer. The wabi-sabi 'ness' of Schneider's work can not be denied or ignored. It's a step of acceptance of 'flaws', gaps, and distortions. Missing pieces of the puzzle. The artist flaunts, uses, and exposes the unknown using expired Polaroid instant film intentionally. Presents it. What you do with that is up to you. That missing part of the picture is for you to include yourself, you fill it in with yourself. That might be critical that it's there at all, missing and missing the entire point altogether or by filling in the unknown with their own imagination. Even their own memories then integrate the viewer and artist as one with limitless potential. Stefanie Schneider's new photographic works tell fantastic stories about her adopted Californian home. She seeks out faded American myths and distills a charged reality in a very personal and surprising way. She uses out-of-date Polaroid film, and the blemishes caused by the degenerated film stock, - are included in the composition in a painterly way. Exposure mistakes and low-budget movie effects are combined to alienating effect. Everything shimmers and flickers before our eyes. The artist plays with the authentic poetry of the amateur, mixing strangely dreamy staging with random photochemical events. In the 16-part work Frozen, which is characterized by a strangely transcendent mood in the lighting, film-still-like pictorial clusters come together to form a mysterious story, with the artist herself as the lonely protagonist. the aesthetic is reminiscent of early Lynch films. The components of the elliptically choreographed events are scenes from an enchanted, gleaming winter landscape, together with "staged snapshots" of a pale young woman in her underskirts, who radiates the troubling reality of a mirage with her sleepwalking presence. The story is presented in the manner of cinematic flashbacks or dream sequences. Stage blood and a knife are used to evoke a crime of passion whose surreal attractiveness is derived from the scenic openness of what is shown. The deliberate use of old instant picture stock establishes in a richly faceted way the ephemeral quality of vulnerability and transience within a reality that is brittle from the outset. The American Stars and Stripes, recently updated as the absolute epitome of a patriotic signifier, is the subject of the 9-part work Primary Colors (2001). Schneider's reassuringly European view, free of undue emotion, presents the Stars and Stripes motif in a strangely alienated form: she shows stills with phases of fluttering violently in the wind, even torn in some cases, and the expired film stock emphasizes the fragility of the icon even more. FlashART - Sabine Dorothee Lehner (translated from German by Michael Robinson)

Creator:
Stefanie Schneider (1968, German)
Creation Year:
2013
Dimensions:
Height: 7.88 in (20 cm)Width: 9.45 in (24 cm)Depth: 0.04 in (1 mm)
Medium:
Archival Paper,Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2010-
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU652315480672

Archival Paper, Photographic Paper, C Print, Color, Polaroid

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