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Stefanie SchneiderInsatiable (Wastelands) - Contemporary, Polaroid, 21st Cetury, Polaroid2003
2003
About the Item
Insatiable - he came to my Valley (Wastelands)
Edition 2/5 , 57x56cm, 2003,
analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper,
based on a Polaroid.
Artist inventory Number 1172.02.
Mounted on Aluminum with matte UV-Protection.
Signed on verso.
Five years have passed since her retreat into the desert, though ‘retreat’ is a word too often misunderstood. It implies withdrawal, but what if it was really an awakening? The slow erosion of excess, of noise, of everything modern life tells us we need. Five years in which deprivation turned to clarity. In which solitude became not a lack, but a refinement.
The life she has built—one of animals, of desert winds, of expired film and forgotten stories—follows a pattern. One she never consciously designed, but one that has come to define her. It is the pattern of seeing beauty where others see ruin, of giving weight to the things the world has deemed useless. A rejected chicken, a wilted plant, a faded photograph—everything abandoned finds a home with her.
The farm is alive with this ethos. The chickens, creatures bred for profit, now exist outside of that timeline, living out lives they were never supposed to have. The land, stripped and sun-bleached, is still capable of yielding something unexpected. It mirrors the Polaroid film she’s been working with for decades—past its prime, unpredictable, existing in a fragile state between survival and decay. This is where she thrives: in the delicate space where time is neither forward nor backward, but suspended in an eternal moment.
To step away from society was never a statement. It was a necessity. The world outside became something unrecognizable, where meaning was diluted, attention fractured, and depth replaced by speed. Art, once a language of emotion, had become currency. She refused to speak it that way. And so, she chose to stop listening to the outside world entirely.
Yet, paradoxically, her presence has never been stronger. While her body exists in the desert, her images exist everywhere. They float through cyberspace like artifacts from another timeline, reaching those who need to see them. People respond not because the images are nostalgic, but because they are reminders of something more visceral—something outside of time, outside of trends.
The last five years have done something to her work. The deprivation of excess, of external validation, of the structures she once moved within, has left behind something raw and unfiltered. There is no longer a distinction between the life she lives and the art she creates. They are the same. A dream unfolding in slow motion, a long exposure that captures not just light, but everything that lingers beneath the surface.
This is not a story of rejection, nor of rebellion for its own sake. It is the story of an artist who found a way to exist entirely on her own terms, where memory and time blur, where what is discarded is given meaning, where absence is not emptiness, but possibility.
In the end, it isn’t about isolation. It’s about preservation. A way of seeing that refuses to be erased, a dream that refuses to fade.
- Creator:Stefanie Schneider (1968, German)
- Creation Year:2003
- Dimensions:Height: 22.45 in (57 cm)Width: 22.05 in (56 cm)Depth: 0.12 in (3 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652316143082
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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