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Stefanie Schneider
Renée's Dream - The Boys (Days of Heaven) - Landscape, Horse, Boys

2006

$800
£610.80
€705.77
CA$1,123.05
A$1,251.75
CHF 656.75
MX$15,285.96
NOK 8,315.92
SEK 7,859.81
DKK 5,267.47

About the Item

Renée's Dream - The Boys (Days of Heaven). Part of the 29 Palms, CA project. - 2006 20x20cm, Edition of 10, plus 2 Artist Proofs, archival C-Print, based on the Polaroid. Signature label and certificate. Artist inventory 8297. Not mounted. In an age of instant gratification and digital perfection, Stefanie Schneider has built a world on delay, distortion, and desert light. Working from her remote outpost in California’s high desert, she conjures images that feel both distant and intimately familiar—cinematic echoes of memory, longing, and time itself. Her process is rooted in solitude, but the reach of her work is global. With exhibitions spanning Los Angeles, Paris, Zurich, Berlin, London, and Sydney, Schneider’s vision travels far beyond the dust roads that lead to her studio. At the heart of her art is expired Polaroid film—unpredictable, unstable, and, in Schneider’s hands, transcendent. She embraces the material’s fragility not as limitation but as philosophy. Every chemical bloom, every color shift is a trace of time, an artifact of impermanence. Her images are never merely photographs; they are emotional atmospheres—unfinished stories suspended between past and present, dream and documentation. Schneider's world is populated by wanderers, lovers, outcasts, and ghosts. They appear and disappear in sun-bleached motels, on endless highways, and in the golden-hour hush of nowhere towns. These figures, often recurring like characters in a film only she knows the full script to, reflect us back to ourselves. Her work is a mirror—cracked, maybe, but deeply revealing. That such intimacy is born from such isolation is part of her magic. Schneider’s hyperlocal production, anchored in the quiet extremity of the desert, defies geography. The emotional resonance of her imagery has no borders. Her art circulates in the most prestigious galleries and collections around the world, yet it never loses its handmade pulse, its dusty tenderness, its invitation to pause. In Stefanie Schneider’s work, time does not move forward—it pools, loops, lingers. And in that suspended moment, we find not just a photograph, but a feeling. A memory we didn’t know we had. A dream we forgot we were dreaming. Welcome to the mirage. 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. “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”)

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