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Stefanie SchneiderStefanie Schneider Polaroid sized unlimited Mini ''Blue Sky Palm Trees' - signed2005
2005
$90
£66.78
€77.79
CA$125.28
A$139.51
CHF 72.61
MX$1,720.16
NOK 924.72
SEK 869.14
DKK 580.44
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About the Item
Stefanie Schneider Polaroid sized unlimited Mini 'Blue Sky Palm Trees' (Sidewinder) - 2005 -
1 Archival Color Photograph based on the original Polaroid.
Polaroid sized open Editions 1999-2016
10.7 x 8.8cm (Image 7.9x7.7cm).
Signed in front, not mounted.
Stefanie Schneider’s work exists at the intersection of memory and decay, a cinematic dreamscape where time dissolves and emotions crystallize in faded hues and chemical distortions. Her images are not just photographs; they are artifacts of an alternate reality, where the American West is refracted through the lens of nostalgia, longing, and an almost supernatural stillness.
Born in Germany in 1968, Schneider’s artistic journey defies national boundaries. Her work is profoundly American in its aesthetic, yet unmistakably European in its existential undercurrents. She occupies the liminal space between continents, between past and present, between the raw physicality of expired Polaroid film and the intangible ghosts of memory that haunt her images. Her subjects, often drifting through desert landscapes, motels, and trailer parks, appear as if they have stepped out of a half-remembered film reel, frozen in moments of anticipation or reflection.
Schneider’s dedication to Polaroid film at a time when the medium was facing extinction speaks to her commitment to preserving imperfection. The unpredictability of expired film, its ethereal color shifts and chemical disruptions, align perfectly with her themes of transience and emotional residue. She doesn’t manipulate these flaws but embraces them, letting the film’s unpredictable nature mirror the unpredictability of life itself.
Her work channels the haunting solitude of Edward Hopper, the conceptual playfulness of Ed Ruscha, and the raw sensuality of Nan Goldin. Yet, her vision remains singular. In her world, love is both beautiful and unrelenting, loss is tangible, and time is a ghost that lingers on the surface of each frame. The desert—a recurring setting in her work—is not just a backdrop but a character in its own right, embodying both desolation and infinite possibility.
Schneider's philosophy is deeply rooted in the idea that beauty exists in imperfection, in the ephemeral, in the unresolved. Her images are love letters to the forgotten, the transient, and the almost-was. They carry the weight of history, yet feel as immediate as a heartbeat.
To view her work is to step into a world that is at once familiar and elusive, where the past is always just out of reach, and the future is forever suspended in a golden haze. The power of her art lies in its ability to make us feel—deeply, achingly, unapologetically. And in that feeling, we find ourselves suspended between what was and what could have been, wrapped in the warm, flickering glow of a half-forgotten dream.
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:2005
- Dimensions:Height: 4.22 in (10.7 cm)Width: 3.47 in (8.8 cm)Depth: 0.04 in (1 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652316135552
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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