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Stefanie Schneider
When we were friends II (Suburbia) - Contemporary, Polaroid
2004

Name: When we were friends II (Suburbia) - Contemporary, Polaroid
Brand: Stefanie Schneider
Price: 975.33 AUD
Availability: InStock
Rating: 4.9 (35 reviews)

About the Item

When we were friends (Suburbia) - 2004 28x37cm, Edition of 10, digital C-Print based on the Polaroid. Signature label with Certificate, unmounted. The project "Suburbia" was shot on the set of Marc Forster's first feature film "Everything put Together' with Radha Mitchell, Michelle Hicks, Megan Mullally, Catherine Lloyd Burns, Matt Malloy and others. 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. The Emotional Landscape of Stefanie Schneider: An Exposé on Her Vision To understand Stefanie Schneider’s work is to step into a world where time is neither linear nor predictable. It is an emotional landscape, not confined to the fleeting moments we call “present,” but instead, an intersection of memory, atmosphere, and raw human vulnerability. She doesn’t just photograph people—she captures their essence, their ghosts, their fleeting whispers. The ephemeral nature of her Polaroid medium mirrors the fragility of the human condition. Her pieces breathe life into memory itself, using the decay of film as a metaphor for time’s insidious erosion of our experiences. It’s not the pristine moments we cherish that Schneider seeks, but the moments after—the ones where the edges fray, where the light bends differently, where something unexpected emerges from the static. In The Last Picture Show, her film project that never fully saw the light of day in the way it deserved, she made the unspoken visible, threading stories of individuals, places, and times into one tangible collection of human moments. It was a journey, a slow unfolding of the interstitial spaces between what we see and what we feel. Stefanie Schneider’s art, then, is not about beauty for beauty’s sake—it is about the pursuit of the raw, the honest, the unsanitized version of our stories. It is an exploration of what remains when everything else is stripped away, from people to places to even our own fleeting memories. Her work doesn’t adorn the walls to impress—it penetrates, it leaves an imprint, as much on the viewer as it does on the medium itself. The Chemical Mutation of Memory: A Personal Statement Schneider’s work speaks to a much deeper exploration of humanity’s struggle with imperfection. In a world obsessed with perfection, Schneider finds the unpredictability of expired film, the way light spills over the chemical mutations of time, to be her most honest tool. Every image she creates is a reaction, a moment of chaos where she has placed trust in the unseen, in the process of the film’s aging. These chemical reactions mirror the very way we remember or misremember; they speak to the fractured nature of memory and the elusive quality of identity. Her photographs take us into uncertain terrain, where color morphs, textures run wild, and light reveals fragments of meaning that we cannot easily grasp. She is not a photographer; she is a storyteller of things forgotten, things unseen. Her subjects—whether it’s a desert or a human being caught in a silent reverie—are portals into a more profound truth, a truth not easily conveyed by words, but only through the unfiltered, unapologetic lens of time itself. In a way, Schneider’s work mirrors life’s contradictions: beauty in chaos, clarity in ambiguity, peace in disarray. It’s not the immaculate scenes we expect from a polished, modern art world; it is the imperfections that whisper the loudest, the fractures that make us feel most alive. She uses Polaroid film, once a symbol of instant gratification, but instead of preserving perfect moments, she uses it to express something much deeper: the beautiful, inexplicable mess that life truly is. Honesty in the Frame: Embracing Vulnerability Stefanie Schneider does not seek approval from her audience. She seeks to create authentic moments of connection that resonate with the soul. To look at one of her works is to witness a moment of unguarded truth—a fleeting moment where everything is left exposed, raw, imperfect, and human. It’s the vulnerability of being caught in the midst of life’s transitions, the uncertainty of being human, the acceptance that we can’t preserve everything—yet we try. In every image, there is an embrace of impermanence, ephemerality, and flawed beauty. Schneider doesn’t manipulate the world to fit her vision; she meets it in its natural state, accepting its unrepeatable, fragile nature. Her work is a meditation on what time does to us all—how we decay, how we change, and how we eventually fade. But even in this fragility, there is beauty. Because in the decay, there is a truth waiting to be unearthed. To experience Stefanie Schneider’s work is to be reminded that we cannot control time, but we can bear witness to it. She captures not what is permanent, but what remains long after the moment has passed—the aftertaste of memory, that fleeting, magical thing that dances just out of reach. The Unseen Reality: A Love Letter to Imperfection In a world obsessed with clarity, Schneider’s work is a call to embrace the blurry edges. It’s an invitation to feel the mess and see the beauty in the unpredictability. She doesn’t make art for fame, recognition, or status—she makes it to speak to something deeper within us all. Something raw. Something real. Something we can’t easily explain. Stefanie Schneider’s art is not about perfection. It’s about the truth that emerges only when we let go, when we stop trying to control and just allow the moment to be—imperfect, fleeting, and beautiful.

Creator:
Stefanie Schneider (1968, German)
Creation Year:
2004
Dimensions:
Height: 11.03 in (28 cm)Width: 14.57 in (37 cm)Depth: 0.04 in (1 mm)
More Editions & Sizes:
20x24cm, Edition of 10Price: $434
Medium:
Archival Paper,Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU652316305792

Archival Paper, Photographic Paper, C Print, Color, Polaroid

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Category

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Stefanie Schneider
When we were friends II (Suburbia) - Contemporary, Polaroid
2004

About the Item