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Stefanie SchneiderMaybe tomorrow (Stranger than Paradise) - 21st Century, Polaroid, Color1999
1999
$500
£379.76
€436.80
CA$698.60
A$779.02
CHF 406.46
MX$9,558.82
NOK 5,173.55
SEK 4,901.83
DKK 3,259.97
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About the Item
Maybe tomorrow (Stranger than Paradise) - 1999
Edition of 10,
50x50cm.
Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid.
Artist inventory number: 20658.
Signature label and certificate.
Not mounted.
Stefanie Schneider’s Art: A Dream of Perception and Memory
In the strange and shifting realms of Stefanie Schneider’s work, there is a disquieting beauty, the sort that is not so much seen as it is experienced—felt in the marrow, understood in fragments. Hers is not a world of clarity, but of perception: a landscape where reality bends, distorts, and becomes something more akin to the dream-like states that Huxley so often explored, where the boundaries of self and time blur.
Her images are a form of disillusionment, or perhaps a soft reawakening, a rebirth of what we believe to be lost. Through the faded lens of Polaroid, a medium that captures both the purity and imperfection of memory, Schneider reintroduces us to what is on the other side of the veil. We are not simply looking at the image; we are inside it, suspended in the languid, half-remembered moments between sleep and waking.
The figures in her photographs—often women, so evocative in their isolation—drift through a desert of both literal and psychological space. The color seems to flicker like some hallucinatory vision, pulling us toward an existence that is both beautiful and tragic. There is an androgynous quality to her work, a suggestion of identities not fixed but in flux, as if the human form itself were a malleable thing, easily stretched and altered by the forces of time and emotion. These figures exist as both individuals and archetypes, as if the viewer might step into their shoes and leave the self behind, experiencing what it means to be other, to be something fleeting, never quite here but always remembered.
Like the finest of dreamers, Schneider plays with time, collapsing past, present, and future into a kind of eternal moment, where nothing is permanent, and everything is subject to the laws of impermanence. There is a profound sadness in this—an awareness that the very act of memory is an act of loss. And yet, there is also a strange kind of liberation, a freedom in embracing the inevitable decay of things, the transformation of moments into something both distant and intimate.
Schneider’s work does not simply capture the world; it distills it into something more surreal, more ungraspable. Through the lens of memory and the palette of fading colors, she transports us to a place where we are not just spectators but participants, touching the unreachable, understanding the fleeting, and—perhaps most importantly—remembering the beauty of things that cannot be held.
Why do you think it is important to own art?
'We have art in order not to die of the truth'
Nietzsche
- Creator:Stefanie Schneider (1968, German)
- Creation Year:1999
- Dimensions:Height: 19.69 in (50 cm)Width: 19.69 in (50 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652315971042
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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Archival C-Print, on Archive Fuji Chrystal Paper, based on the Polaroid.
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