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Stefanie Schneider
Guadalupe (The Last Picture Show) - analog, Polaroid, Contemporary

2005

$840
$1,20030% Off
£636.93
£909.9030% Off
€735.65
€1,050.9330% Off
CA$1,178.57
CA$1,683.6730% Off
A$1,312.90
A$1,875.5730% Off
CHF 692.54
CHF 989.3430% Off
MX$15,919.34
MX$22,741.9230% Off
NOK 8,810.05
NOK 12,585.7830% Off
SEK 8,207.12
SEK 11,724.4530% Off
DKK 5,493.37
DKK 7,847.6830% Off

About the Item

Guadalupe (The Last Picture Show) - 2005 38x37cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Archive Fuji Crystal Paper, based on the Polaroid. Artist inventory number: 386.02. Signature label and Certificate. Not mounted. Stefanie Schneider: Fragments of Time Stefanie Schneider’s work is a meditation on time—its erosion, its persistence, its ability to fracture and reassemble in the mind’s eye. Her Polaroid images resemble faded dreams or half-remembered encounters, suspended in a space where past and present bleed into each other. They are never fully whole, yet never entirely lost. Working with expired Polaroid film, Schneider embraces the unpredictable. Each image bears the chemical scars of time, resulting in distortions that feel more like memory than documentation. These imperfections are not effects—they are the essence. In an age obsessed with clarity and control, her work invites us to appreciate the beauty of what’s fleeting, fragile, and incomplete. Set against the mythic landscape of the American West, her photographs feature solitary figures adrift in motels, deserts, and trailer parks. Caught between nostalgia and the unknown, they exist in a cinematic loop, their stories unfolding and dissolving like film in the projector’s glow. In recent years, Schneider’s desert sanctuary has become a world of its own—a self-contained universe where time stretches and blurs. Within this solitude, her practice has deepened, echoing the introspective, dreamlike nature of the work itself. Her images don’t aim to capture perfect moments—they evoke how moments feel. They flicker between memory and dream, layered with emotion, distortion, and light. They’re not just photographs. They’re time capsules—fragments of experience, forever dissolving and reappearing, like memory itself.

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