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Stefanie Schneider
Lila and Sam from the movie Stay with Ewan McGregor, Naomi Watts
2006

Name: Lila and Sam from the movie Stay with Ewan McGregor, Naomi Watts
Brand: Stefanie Schneider
Price: 27584.94 AUD
Availability: InStock
Rating: 4.9 (36 reviews)

$17,600

$22,00020% Off

£13,380.85

£16,726.0620% Off

€15,442.01

€19,302.5120% Off

CA$24,635.28

CA$30,794.1020% Off

A$27,584.94

A$34,481.1720% Off

CHF 14,392.44

CHF 17,990.5520% Off

MX$336,102.19

MX$420,127.7420% Off

NOK 182,629.82

NOK 228,287.2820% Off

SEK 173,632.34

SEK 217,040.4220% Off

DKK 115,264.41

DKK 144,080.5120% Off

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About the Item

A piece of art from the movie 'Stay' by Stefanie Schneider Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. She also created the art for several dream sequences and the end credit sequence for the movie. This Piece: Lila and Sam (Stay) featuring Naomi Watts and Ewan McGregor 4 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, 2006, 128x126cm each, installed with gaps 128x563cm, Edition 5/10, based on 4 Polaroids, signature label and certificate. Artist Inventory Number 5065.05. Not mounted. featuring Ewan McGregor and Naomi Watts ------------------------------------------------ “I never remember the details of a Stefanie Schneider image, just the whole. She treads a third path between reality and dream that connects the two and truly sparks my artistic, visual freedom.” (Marc Forster) Stefanie Schneider’s work captures the American West in a way that transcends mere documentation—it distills the mythos of the frontier into something dreamlike, deteriorating, and deeply personal. Her images evoke Ed Ruscha’s fascination with roadside Americana, Georgia O’Keeffe’s reverence for arid landscapes, and Edward Hopper’s haunting loneliness, yet they engage in a unique dialogue with history, both photographic and cultural. How did a German artist become one of the most essential voices in the visual storytelling of the American dream—and its unraveling? Born in Germany in 1968, Schneider grew up in a divided nation, where the scars of history were still visible in the landscape. This early exposure to ruptured histories and fading ideologies may explain her pull toward the abandoned edges of the American West—a land that once symbolized limitless possibility but now bears the melancholy of faded utopias. Schneider’s process begins in these liminal spaces—the parched deserts and forgotten highways of Southern California—where she photographs her subjects using expired Polaroid film. The very material of her work embodies impermanence and decay, its chemical imperfections mirroring the breakdown of memory and myth. In Berlin, she develops and enlarges her images by hand, bringing an almost cinematic post-production process to a medium often associated with instant gratification. Her role in preserving Polaroid film as an artistic medium has placed her at the forefront of a historical crossroads in photography. At a time when instant film was being phased out—a casualty of digital progress—Schneider refused to let it vanish. In doing so, she not only safeguarded a crucial chapter in photographic history but also cemented her place as one of its key narrators, treating Polaroid not as a tool of nostalgia but as a medium uniquely suited to capturing time slipping away. This tension between preservation and deterioration is central to Schneider’s work. As she told Artnet in 2014, her images are deeply personal explorations of longing, memory, and loss: "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." The notion of absence—whether in love, landscapes, or fading cultural dreams—haunts her work. Her subjects, often seen in desolate spaces—trailer parks, oilfields, run-down motels, and empty highways—appear disconnected, isolated even when together. The ghosts of American iconography—the road trip, the drifter, the neon-lit escape—are present, yet they flicker like echoes of a past that may never have existed as we remember it. In many ways, Schneider’s vision of the American West is a farewell letter—not to the physical place, but to the idea of it. She does not merely document a landscape; she captures the moment it dissolves, leaving behind only traces of what was. In doing so, she ensures that the story of the West, much like her Polaroid film, lingers—imperfect, beautiful, and just beyond our grasp. 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:
2006
Dimensions:
Height: 50.4 in (128 cm)Width: 221.66 in (563 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:
Seller: 50651stDibs: LU652316222432

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

Stefanie Schneider
The way we were (Till Death do us Part), 2005

$495 Sale Price

44% Off

Sam featuring Ewan McGregor (Stay) - Polaroid

By Stefanie Schneider

Located in Morongo Valley, CA

featuring Ewan McGregor (Stay) 2008 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 5248 Not mounted. Ste...

Category

Early 2000s Contemporary Color Photography

Materials

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

Archival pigment print Signed and numbered, verso 11 x 14 inches (Edition of 15) 20 x 24 inches (Edition of 10) This photograph is offered by ClampArt, located in New York City. Pl...

Category