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Stefanie Schneider
Untitled Sequence (Stranger than Paradise) - Polaroid, Landscape Photography

2005

About the Item

Untitled (Cowboys and Angels), 2005 50x39cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. artist Inventory No. 2779. Not mounted. My work has been called blurry, broken or even botched but they fail in the test of acceptance that all things are imperfect. It's a seismic shift for some but in this age where the cracks are no longer hidden, the affirmation of reality is still difficult. 
But that's so depressing right? To acknowledge that the dream is actually turning into a nightmare. It's easier to deny than to utter the truth of defeat. (ruin). 
That we are all finite is irrefutable but we just don't want to believe it. 
 The celebration of imperfection reconnects us to the real world where we normally mask our flaws.
I chose Polaroid film because it portrays color like candy making even the broken an expression of endearment. The combination of the color and the blemishes of expired Polaroid analog film gave me a sense of inner peace with my surroundings. It just fit. Nothing had portrayed my vision so symbolically. Frankly, It's liberating.
The quirks, oddities or the perfectly imperfect uniqueness of my work relate to our own life blemishes and somehow make them ok or even remarkable. Honoring that value of imperfection makes it permissible to be. 

 
 
I try to clarify my nightly dreams subjectively with a cup of nostalgia in a bowl of emotions and sprinkle it generously with sex. It is there, the fountain of our instincts.

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Oasis (Sidewinder), 2005 80x80cm, Edition of 10, Archival C-Print, based on 16 Polaroids. Artist inventory Number 3001. Signature label and Certificate. Not mounted. "private history turned into an intimate mythology of elemental fantasies where reality is perceived through a veil of psychedelic memories and unconscious projections. such is a collection of passions and dreams, an uncanny diary of ephemeral narratives and mental intensities in Stefanie Schneider’s painterly photographs where subjectivity of an ontological doubt uses a poetics of pastische as a vehicle for an intertextual journey towards the truth and the authenticity of primary emotions. here time is immersed in a nostalgic suspense of oneiric dimension, a sort of ambiguous coma of silence and comfort, and open space embraces a psychotic landscape of solitude and accidental pleasure. fetishized surface of extreme feelings gives a stage for an unsolicited promise of unconditional love and unlimited freedom, a promise framed by sensual tension between fulfillment and expectation." - Adam Budak, Kusthaus Graz, 2005 Sidewinder
 There’s blood on the dress that hangs in the Airstream trailer outside 29 palms. With the pistol in her sweat palm touching his temple. Tell me what god’s gonna do for me and you know Stevie’s saying while Brother John Baptiste looks there across to where her cat seems weak and fed. All the good that comes to me from my believing man, I wanna hear about it said to me like that. Just the way you breathed it like you did 10 minutes ago when I was wrapped so well around your head. Silence then. A baby screams his mother out in the desert night...
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