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Stefanie Schneider
On Hold - The Girl behind the White Picket Fence

2013

$2,200
$4,00044% Off
£1,670.20
£3,036.7344% Off
€1,910.36
€3,473.3744% Off
CA$3,073.72
CA$5,588.5844% Off
A$3,418.65
A$6,215.7244% Off
CHF 1,785.11
CHF 3,245.6644% Off
MX$41,601.29
MX$75,638.7144% Off
NOK 22,798.59
NOK 41,451.9844% Off
SEK 21,381.06
SEK 38,874.6544% Off
DKK 14,257.71
DKK 25,923.1244% Off
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About the Item

'On Hold' (The Girl behind the White Picket Fence) - 2013 98x97cm, Edition of 5, analog C-Print, hand-printed by the artist, based on the Polaroid Certificate and Signature label artist Inventory Nr. 13438.01 Not mounted The Girl Behind the White Picket Fence Feature Film, Polaroid Still Sequences & Super-8, 78 minutes Voiceover in English, Color In The Girl Behind the White Picket Fence, Stefanie Schneider redefines the boundaries of narrative cinema through her unmistakable visual language—instantly recognizable and impossible to replicate. Shot entirely with expired Polaroid film and interwoven with Super-8 sequences, the film is not so much told as it is dreamed. Faded edges, chemical blooms, and fragmented colors become storytelling tools, speaking the unspeakable. Set in the remote Californian desert, the film follows a young girl in the wake of a profound personal loss. Orphaned and left to her own devices in a vintage Spartan travel trailer, she wanders through the sun-drenched silence, seeking meaning in the remains of a world once filled with family and routine. What emerges is a cinematic monologue—intimate, poetic, and unresolved—rendered in Schneider’s signature aesthetic of beautifully deteriorating film. The Girl Behind the White Picket Fence expands on the themes central to Schneider’s larger body of work: isolation, longing, the myth of the American West, and the intersection of memory and emotion within a shifting physical landscape. Here, the visual artifacts of expired film mirror the imperfections of recollection and the distortions of grief. With nods to diaristic filmmaking and experimental narrative traditions, Schneider’s feature occupies a unique space in contemporary art and cinema. It is a rare thing: an artwork that refuses to explain itself, yet resonates with uncanny emotional clarity. It leaves behind no easy conclusions—only the lingering presence of something felt. “It was Stefanie Schneider, who inspired me to start the company THE IMPOSSIBLE PROJECT after seeing her work, which seems to achieve the possible from the impossible, creating the finest of art out of the most basic of mediums and materials. Indeed, after that one day, I was so impressed with her photography that I realized Polaroid film could not be allowed to disappear. Being at the precise moment in time where the world was about to lose Polaroid, I seized the moment and have put all my efforts and passion into saving Polaroid film. For that, I thank Stefanie Schneider almost exclusively, who played a bigger role than anyone in saving this American symbol of photography.” –Florian Kaps, March 8th 2010 (“Doc” Dr. Florian Kaps, founder of “The Impossible Project”) 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.

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