Items Similar to Room No. 503 - Strange Love, analog

Stefanie Schneider - Room No. 503, III - Strange Love

Stefanie Schneider - Room No. 503, II - 21st Century, Polaroid, Interior Photography, Contemporary

Stefanie Schneider - Across (Strange Love) - analog, based on am original Polaroid

Stefanie Schneider - A Room with a View - Strange Love

Stefanie Schneider - A Memory - Strange Love

Stefanie Schneider - Mindscreen 03 - Contemporary, analog, vintage print, mounted

Want more images or videos?

Request additional images or videos from the seller

1 of 4

Stefanie Schneider
Room No. 503 - Strange Love, analog
2010

Name: Room No. 503 - Strange Love, analog
Brand: Stefanie Schneider
Price: 8622.85 AUD
Availability: InStock
Rating: 4.9 (36 reviews)

$5,500

£4,182.51

€4,824.32

CA$7,704.49

A$8,622.85

CHF 4,502.47

MX$105,199.28

NOK 57,153

SEK 54,234.68

DKK 36,025.74

Shipping

Retrieving quote...

The 1stDibs Promise:

Authenticity Guarantee,

Money-Back Guarantee,

24-Hour Cancellation

About the Item

'Room No. 503' (Strange Love) - 2010 128x125cm, Edition of 5, analog C-Print printed on Fuji Archive Paper, hand-printed by the artist based on the Polaroid, signature label and certificate, artist Inventory Nr. 6129.01, Not mounted. “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) Presented here is a rare and compelling piece from Strange Love, an intimate sub-narrative within Stefanie Schneider’s expansive 29 Palms, CA project. This work exists at the threshold between memory and reality, documenting love’s ghostly afterimages—its presence felt even in absence, its echoes lingering like the phantom pain of an amputated limb. At the heart of Strange Love is the entanglement of three individuals—Lance (The Smoke Jumper), Eva (alias Fia), and Stefanie (alias Stella, alias Stevie). Their story, drawn from lived experience, unfolds through shifting perspectives, continuously reenacted, reinvented, and reframed. Like a cinematic memory, it oscillates between fact and fiction, exploring love, desire, perception, and the instability of truth. Schneider’s work blurs the boundaries between past and present, dreams and waking life. Fragments of moments—photographs, film sequences, written reflections—overlap and collide, forming a nonlinear narrative where time is elastic and interpretation is fluid. As theater critic Maja Maria Liebau observes: "Someone is not there and is therefore even more present." Reality itself is destabilized. The search for meaning—whether in love or in self—becomes an endless process of reinterpretation. Can love ever be truly captured, or is it, by nature, ephemeral and unknowable? Through her distinctive use of expired Polaroid film, Schneider amplifies this sense of impermanence. The unpredictable chemical reactions—color shifts, light leaks, and distortions—become an integral part of the storytelling, reinforcing themes of memory’s unreliability and the fragile, fleeting nature of human connection. Her aesthetic, reminiscent of early Lynch films, merges staged narratives with serendipitous visual accidents, creating a dreamlike atmosphere where truth remains just out of reach. Like 29 Palms, CA, Strange Love resists resolution. The two projects are exhibited together, each informing the other, offering multiple interpretations of love, truth, and identity. In the end, their convergence seeks to craft a final, fictionalized conclusion—a poetic meditation on love’s elusive nature. Schneider’s work has been exhibited at institutions such as the Museum für Fotografie (Braunschweig), the Museum für Kommunikation (Berlin), and Les Rencontres d'Arles, among others. Her influence extends beyond the art world—her practice, described by Dr. Florian Kaps as "achieving the possible from the impossible," was a driving force behind the revival of Polaroid film through The Impossible Project. Strange Love is a testament to Schneider’s ability to distill personal experience into a visual language that transcends time, leaving behind not just images, but echoes of a story still unfolding.

Creator:
Stefanie Schneider (1968, German)
Creation Year:
2010
Dimensions:
Height: 50.4 in (128 cm)Width: 49.22 in (125 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:
Seller: STSCH #61291stDibs: LU652315949432

Metal

To want for nothing, #1

Materials

Archival Pigment

Laura Letinsky
To want for nothing, #1, 2015

Price Upon Request

Quarantine #37 (Day #45)

By Zoë Zimmerman

Located in Sante Fe, NM

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

Category

2010s Contemporary Color Photography

Materials

Archival Pigment

Zoë Zimmerman
Quarantine #37 (Day #45), 2020

$1,200

Quarantine #31 (Day #39)

By Zoë Zimmerman

Located in Sante Fe, NM

"Covid Vanitas: The Pandemic Still Lifes" On the first day of quarantine I began photographing the people-less quiet of a home and studio in isolation. The still lifes are a visual ...

Category