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Stefanie Schneider
Dayworker - diptych, analog, based on two SX-70 Polaroids

1999

$5,000
£3,794.35
€4,344.84
CA$7,105.35
A$7,733.31
CHF 4,059.92
MX$93,429.65
NOK 50,956.45
SEK 48,045.90
DKK 32,433.86

About the Item

Dayworker (American Depression), diptych - 1999 Edition of 10, plus 2 Artist Proofs. 58x57cm each, 58x122cm installed including an 8cm gap in between both pieces. 2 analog C-Prints, hand-printed by the artist, based on the 2 Polaroids. Signature Label and Certificate. Artist Inventory Number 579. Not mounted. In the canon of contemporary art, Stefanie Schneider occupies a territory uniquely her own — where film becomes emotion and light becomes memory. Working with expired Polaroid stock, Schneider orchestrates the alchemy of time, atmosphere, and chance, transforming the mechanical process of instant photography into an elegy of impermanence. Her desert tableaux — sunburnt, unraveling — defy classification. They are not photographs in the traditional sense; they are psychic landscapes, imbued with a cinematic tension that recalls Antonioni as much as they do the American road movie. Figures drift through ghost towns and dust-blown motels, their narratives suspended, their gestures unresolved. The dream is never explained — only inhabited. What distinguishes Schneider is not simply her mastery of a disappearing medium, but her refusal to correct or control its decay. The chemical instability of the film is not a flaw, but a collaborator. In embracing entropy, she gives form to what resists permanence: desire, memory, disappearance. Her palette — soft, volatile, fractured — is the chromatic language of longing. Few artists have so convincingly bridged photography and film, past and present, precision and surrender. Schneider’s work does not ask to be understood. It asks to be felt — viscerally, instinctively — like déjà vu, or the moment just before waking. It is no exaggeration to say that Stefanie Schneider has changed how we see, and more importantly, how we remember seeing.

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