Polaroid Photography

By the Pond (2014)
 - as a forest fairy is the beginning of a story that evokes the enigma and the dreamy world of childhood. 25x25cm, Edition of 7 plus 2 Artist Proofs. Giclée ...

Kali as The Queen of Earth (2020) 70x57cm, Edition of 5 plus 2 Artist Proofs. Photograph printed in Canson Baryta Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative....

'Radha Leopard Dress III' (29 Palms, CA) - 1999 Edition of 10, 20x20cm, Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist inventory 18258. Not moun...

Was I Dreaming? (Till Death do us Part) - 2005 50x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Ar...

Paul Anka is a popular singer and songwriter known for such hits as Put Your Head on My Shoulder, Diana, and She's a Lady, recorded by Tom Jones. Image dimensions: 4.25 x 3.375 in. ...

Gabriela at Seven (2015) 25x25 cm, Edition of 7 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted) Bombay Beach Biennale ...

Dreamer (Zuma Beach) - 2004 78x76cm, Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #2746. Not m...

Morning Glory (Till Death do us Part) - 2005, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print based on the original Polaroid. Certificate and signature label. Ar...

Gil at Twelve - 2019 - 40x48cm, Edition of 7, plus 2 Artist Proofs. Photograph printed on Fuji glossy paper, based on a reclaimed Fuji Instant Film Negative (not mounted). Sign...

Childhood Memories (Stay) - 2006 - featuring Ryan Gosling- Polaroid 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inv...

Sleeping Beauties II (Till Death Do Us Part) - 2005 Including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective,...

Rendering Memories II (The Girl Behind the White Picket Fence) - 2013 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and certificate. Artist Inventory #13388. Not mounted. Offered is a piece from the movie: The Girl Behind the White Picket Fence. Written and directed by Stefanie Schneider A tale told with blemished and expired Polaroid film about the hopes and dreams of a newly orphaned girl after losing her parents who lived in the Californian desert in an old travel trailer. -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monologue - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girl's journal. (Palms Springs life magazine / Caroline Ryder) Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in Morongo Valley, the trail strewn with rocks, and you’ll come upon a gigantic 1950s trailer in pristine condition, ringed by a white picket fence, with cottontail rabbits hopping among neat little rose bushes that bloom in spite of the broiling desert heat. Inside the trailer are period accents—a vintage radio, vintage fridge, little crocheted doilies, and dusty gilt-framed photographs. It’s a surreal home-sweet-home, an Americana fantasy as imagined by German artist and experimental filmmaker Stefanie Schneider whose work is so inspired by the desert landscape, she made it her home in 2005. “There’s a completely different light here than in Germany, a beautiful light,” says Schneider, whose property in Morongo is dotted with vintage trailers. They surround her midcentury home and serve as sets for her photoshoots or as guest lodgings for her friends from Hollywood and Berlin. “But what I really love about the desert is the desolation,” she continues. “The sense of hope for something that might or might not come. It’s easy to see our dreams projected in the desert.” Famed for shooting trailer park chic fine art photographs exclusively on vintage Polaroid film, Schneider recently completed her most ambitious project to date—a feature film made entirely of Polaroid stills (4000 images in total), the story set around her magnificent 1950s trailer. The film, called “The Girl Behind The White Picket Fence” tells the story of a broken-hearted girl who lives in the trailer. Her name is Heather, and she is played by model Heather Megan Christie, girlfriend of actor Joaquin Phoenix, and former partner of Red Hot Chili Peppers singer Anthony Kiedis, with whom she has a son. Heather stars opposite Kyle Larson (who plays ‘Hank’), a real-life gypsy fisherman who catches crab in Alaska when he’s not surfing in Southern California. Neither of the two had ever acted before, and never in the history of movie-making has a director shot a film entirely on Polaroid film. “There was great difficulty shooting a film this way,” says Schneider, who, with her long straight hair, wide innocent eyes, and thick-framed glasses, conjures an art-house Gretel. “If I had used a regular camera I would have had 36 exposures per minute, much faster and easier than using the old Polaroid camera which takes a long time to shoot one frame. Also, sometimes it doesn’t shoot at the exact moment you think it’s going to—but that’s really great because then you miss the perfect moment…and often those are the best shots.” Individually, the Polaroid photographs that comprise 29 PALMS, CA stand alone, but together and in sequence, filmed with super 8 and 16mm film stock and overlaid with poetic voice-over monologues, they create a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick. Gus Van Sant, and pages torn from a lonely girl’s journal. The idea to shoot a movie in this way came about in 2004 when Schneider was working with leading German director Mark Forster (Monster’s Ball, Finding Neverland, Quantum of Solace) on his film Stay. She had met Forster at director Wim Wender’s birthday party in Hollywood. A few years later, Forster asked Schneider to shoot Polaroids of scenes from Stay as he filmed; he used those photographs for dream and memory sequences in the movie. For the first time, Schneider saw her Polaroids strung together in sequence, moving with rhythm like a flipbook, in the context of a story. When Forster urged her to consider making a feature film using that technique, the seed of 29 PALMS, CA was sown. She mentioned the idea to her good friend German actor Udo Kier, who also gave the idea a big thumbs up, and agreed to play the part of a mysterious shaman in the film. Thanks to her strong reputation in the art world and her Hollywood connections, getting talented people on board was the easy part (for a while, Charlotte Gainsbourg was pegged to play the starring role, although she pulled out two weeks before shooting commenced because she was pregnant and not fit to travel to the desert.) The hard part was finding the perfect trailer—and bringing it to the desert. “This trailer almost killed us,” says Schneider’s partner Lance Waterman, who lives and works with Schneider in Morongo Valley. After finding it on eBay, the couple drove to Utah to pick it up, the plan being to tow it all the way back to the high desert themselves. Bad idea. “We were driving down a hill with this enormous trailer behind us when we realized that if we wanted to stop, there would be no way to do so without the trailer crushing us,” says Waterman. Adds Schneider: “Lance was even giving me instructions on how to jump out of the truck if we needed to.” Thankfully the road leveled and as soon as they were able to slow down and pull over, they called a professional towing company, which transported the trailer the remaining distance to Morongo Valley. Filming took place in Spring 2011 and 2012. Schneider recently submitted the film to major film festivals in Europe and the US, and it will be broadcast in 2013 by leading German television channel, Arte. While Schneider may come from a long tradition of photographers-turned-filmmakers—Stanley Kubrick started out as a photographer, as did Ken Russell (Tommy, Women in Love) and Larry Clark, who was a controversial fine art photographer before directing smash hit Kids—she does not see her future in Hollywood, directing blockbusters. Not necessarily. “I don’t think I want to make more films,” she says. “The actors were saying they would love to work with me again, and were asking if I would like to make other movies. But being on movie sets is far too stressful, and at least with this, I was in complete power of what was going on creatively. That said, if this gets a lot of acclaims…we can always think again. One should never say never.” Film features original soundtrack with songs by Adam Weiss, Daisy McCrackin, Billy Harvey, Sophie Huber, Zoe Bicat, Max Sharam, Cheyenne Randall...

Dreamgirl (The Last Picture Show) - 2005 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Certificate and Signature label. Artist Inventory...

This is a unique photographic taken by Andy Warhol of one of this flower paintings. The work is initialed by the artist on the front side of the polaroid. Provenance: Gift of the a...

It's gonna be ok (Till Death do us Part) - 2008 40x48cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Certificate and Signature label. Artist Inve...

Higher Lands - 2021 30x38cm, Edition of 7, plus 2 Artist Proofs. Archival Print on Hahnemuehle Baryta Fiber Rag 340gr, based on an original peel apart Polaroid (not mounted). S...

Untitled - Stage of Consciousness (29 Palms, CA) - 2007 Edition 2/5 , 75x93cm, 2007 analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Ar...

'Radha Pink' (29 Palms, CA) - 1999 38x36cm, Edition of 30, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #6...

Lucia at 13 (2016) 40x48cm, Edition of 10 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted) Once / Cristina Fontsare ...

'Untitled II' (Cricket on the Nose Scene) from the 29 Palms, CA series - 2009 56x56cm, Edition 1/5, analog C-Print, hand-printed by the artist, based on a Polaroid signed on verso,...

Some Kind of Green Air (Journey to the Center of the Earth) - 2020 Edition 1/5. 70x57cm. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Fil...

But I Love You (The Girl behind the White Picket Fence) - 2013 40x48cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certific...

'Desert Sands' (California Badlands), 2016, 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory No. 19326.13 Not moun...

Light Blue Lingerie - however - (Wastelands) - 2003 57x56cm, Edition 4/5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, Artist inventory Number 1179.04. Signature label and Certificate. Not mounted. For sale is a piece from the Wastelands series. Schneider harnesses the unpredictable chemical mutations of expired Polaroid film, where bursts of color erupt across the surface, destabilizing the photograph's traditional allegiance to reality. These vivid distortions draw her characters into ethereal, trance-like dreamscapes. Like fleeting sequences from a vintage road movie, Schneider’s images shimmer with a transitory quality, dissolving before any definitive conclusions can be drawn. Their ephemeral essence is conveyed through subtle gestures and enigmatic motives. Refusing to yield to the constraints of reality, Schneider’s work keeps alive a delicate interplay of dream, desire, fact, and fiction, blurring the boundaries between them with poetic ambiguity. Stefanie Schneider’s work echoes the heart of American art, channeling the cinematic nostalgia of Ed Ruscha’s roadscapes, the stark sensuality of Georgia O’Keeffe’s deserts, and the haunting solitude of Edward Hopper...

'Ryan Gossling' (Stay) - 2006, 20x20cm, Edition of 2/10, digital C-Print, based on a Polaroid Certificate and Signature label artist Inventory No. 2447.02 Not mounted. Stefanie Schneider: Torsten Scheid, “Fotografie, Kunst, Kino. Revisited.”, FilmDienst 3/2006, page 11-13

 Photography Art Cinema. Revisited Stay expands a traditional connection through new facets Interwoven between the media of photography and film is a veritable mesh-work of technical, motific, metaphorical and personal interrelationships. Extending from photo-film which, as in La Jetée by Chris Marker (France, 1962) is a montage of single, unmoving photographs all the way to the portrayal of photographic motifs in Hollywood cinema―most recently in Memento (USA, 2000) and One hour photo (USA, 2002)―is the range of filmic-photographic interactions on the one hand, and from the adaption of modes of cinematic production to the imitation of film stills on the other. For instance, with the legendary Untitled Film Stills (1978) of the American artist Cindy Sherman, who later made her debut as a film director with Office Killer (USA, 1997) and thereby, like many others, changed sides: Wim Wenders, Robert Frank and Larry Clark are doubtlessly the most successful of these photographic-filmic border crossers. This brief survey provides only a vague indication of the dimensions of this intermedial field, which in fact extends much further and is constantly being cultivated. Also as a motif in film, photography has experienced a historical transformation: Photographers were once considered to be technicians who mastered a craft but never achieved the status of artists. Photographer-figures were caught in the allure of beautiful appearance, incapable of penetrating to the actual essence of things. Such depth was reserved for literature or painting. When photography in film touched upon the sphere of art, then most often as its contrasting model, as the metaphor for a superficial access to the world. Coming to mind are Fred Astaire as a singing fashion photographer in Stanley Donen’s musical film Funny Face (USA, 1957), or the restless lifestyle-photographer in Michelangelo Antonioni’s genre-classic Blow up (GB, 1966). For the doubting Thomas, only that exists which can be photographed. He ultimately enters the world of fantasy and thereby the field of art only unwillingly, when he becomes entangled in the world of his images. The last of his detail-enlargements shows only the photographic grain and has lost all connection to reality. The photograph looks as if it had been painted by Bill, the painter who is both friend and antagonist to the protagonist.

 Photography as Art It was first around the end of the last century that numerous filmmakers discovered photography as a genuine art form. In The Bridges of Madison County (USA, 1995) a sensitive Clint Eastwood stands, camera in hand, on the threshold of artistic status, and in Smoke (USA, 1994) a tobacco merchant ripens into a philosopher through his involvement in photography. Finally, in John Water’s parody of the art market, Pecker (USA, 1998), a provincial tom-fool is hyped into celebrated stardom amid the New York art scene because of his blurred snapshots. This film about a postmodern Kaspar Hauser in photographic art (with clear parallels to Richard Billingham, the British shooting star of the nineteen-nineties), not only takes into account the exponentially expanded significance of photography in the art market, but also attributes to photography an extreme degree of conformity to the “operating system” of the visual arts. This admittedly ironic equation of photography and the visual arts is new. It is repeated with much more earnestness in Lisa Chollondencko’s High Art (USA) from the same year. Artistic photography has finally become established in a cinematic context.

 
Stay Stay (USA, 2005) could have fitted in seamlessly here. Considering that the films High Art and Pecker establish photography as an ideal art form at the end of the millennium, director Marc Forster (Monster’s Ball, Finding Neverland) takes a step backward; he revives an anti-technical, intuitive concept of art, including the customary clichés about madness and genius. This choice documents less an anachronistic notion of art (especially considering that painting is currently experiencing a Renaissance) than instead the appraisal that paintings are more suitable for representing the free objectification of the mind. Stay is not an artist-film but rather a psycho-thriller in which the borders between dream and reality become blurred.
 The psychiatrist Sam Foster (Ewan McGregor) has saved his girlfriend, the artist Lila (played by Naomi Watts) from committing suicide. Now he is attempting to keep another patient, the art student Henry Letham (Ryan Gosling...

Gestures (Stranger than Paradise) Edition 1/5. 12 pieces, 48x46 cm each, installed: 207x155 cm. 12 Analog C-Prints, hand-printed by the artist, mounted on Aluminum with matte UV...

Gaelle With Broken Arm - 2021 70 x 57 cm, Edition of 5 + 2 Artist Proofs. Photograph printed in Hahnemühle Baryta Photo Rag 340gr, based on the original reclaimed Fuji Instant F...

Baltic pines, 2025 A study of silhouette and stillness of the Baltic landscape. Captured on Polaroid film. Archival pigment print on Hahnemühle Photo Rag Baryta paper. Stamped, lab...

Joyce Tenneson is an accomplished American photographer best known for her mystical and sensual photographs of the female form. At once haunting, enigma...

Unbound (Wastelands) - 2003 Edition 3/10. 38x36cm. Archival C-Print on Crystal Fuji Archive paper, matte surface, based on the Polaroid. Artist inventory Number 836. Signature ...

Flying (Stage of Consciousness) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory ...

Village Motel Blue (The Last Picture Show) - 2005 58x56cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on a Polaroid, signed on ...

Honey, I love you (Till Death do us Part) - 2007 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist In...

Lerici '25 is an original black and white Polaroid photograph captured on SX-70 film along the Ligurian coastline of Italy. The image is part of a limited edition of 10, hand-signed ...

The hood is falling short (2017) 40x48 cm, Edition of 7 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted) Once / Cristin...

Dodger Stadium (The Last Picture Show) - 2000, 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. ...

Felix with Knife (California Blue Screen) - 1997 114x142cm, Edition 1/3. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Certificate and Signature l...

Kali - 2021 70 x 57 cm, Edition of 5 + 2 Artist Proofs. Photograph printed in Hahnemühle Baryta Photo Rag 340gr, based on the original reclaimed Fuji Instant Film Negative (not m...

Baltic pines, 2025 A study of the silhouette and stillness of the Baltic landscape. Captured on Polaroid film. Archival pigment print on Hahnemühle Photo Rag Baryta paper. Stamped,...

Descent into Fusion is an abstract study of fusion as a universal event: two separate fields drawn into one outcome. Built through layered charcoal on paper, the image follows a clea...

Cleaning Up - Oxana's 30th Birthday (29 Palms, CA) - 2010 76x101cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original Pola...

Untitled (The Last Picture Show), 2005 38x36cm, Edition 2/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the original SX-70 Polaroid. Inventory No. 781.02. Signature label and Certificate. Not mounted. LIFE’S A DREAM (The Personal World of Stefanie Schneider) by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally ‘an appearing’, for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most apparitional of image-based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an ‘awaiting’ for an appearance to take place, in line with the imagined image as executed in the camera and later developed in the dark room. The fact that Schneider uses out-of-date Polaroid film stock to take her pictures only intensifies the sense of their apparitional contents when they are realised. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or arrested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially envisaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called existential sense of chance, which becomes pre-disposed by the immediate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open-ended choices, driven by a personal nature and disposition allowing for a second appearing of things whose eventual outcome remains undefined. And, it is the alliance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open-ended narratives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feeling for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb ‘to expose’. To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The former being the unstable point of departure, and the latter being the uncertain ends or meanings that are generated through the photographs doubled exposure. The large number of speculative theories of apparition, literally read as that which appears, and/or creative visions in filmmaking and photography are self-evident, and need not detain us here. But from the earliest inception of photography artists have been concerned with manipulated and/or chance effects, be they directed towards deceiving the viewer, or the alchemical investigations pursued by someone like Sigmar Polke. None of these are the real concern of the artist-photographer Stefanie Schneider, however, but rather she is more interested with what the chance-directed appearances in her photographs portend. For Schneider’s works are concerned with the opaque and porous contents of human relations and events, the material means are largely the mechanism to achieving and exposing the ‘ridiculous sublime’ that has come increasingly to dominate the contemporary affect(s) of our world. The uncertain conditions of today’s struggles as people attempt to relate to each other - and to themselves - are made manifest throughout her work. And, that she does this against the backdrop of the so-called ‘American Dream’, of a purportedly advanced culture that is Modern America, makes them all the more incisive and critical as acts of photographic exposure. From her earliest works of the late nineties one might be inclined to see her photographs as if they were a concerted attempt at an investigative or analytic serialisation, or, better still, a psychoanalytic dissection of the different and particular genres of American subculture. But this is to miss the point for the series though they have dates and subsequent publications remain in a certain sense unfinished. Schneider’s work has little or nothing to do with reportage as such, but with recording human culture in a state of fragmentation and slippage. And, if a photographer like Diane Arbus dealt specifically with the anomalous and peculiar that made up American suburban life, the work of Schneider touches upon the alienation of the commonplace. That is to say how the banal stereotypes of Western Americana have been emptied out, and claims as to any inherent meaning they formerly possessed has become strangely displaced. Her photographs constantly fathom the familiar, often closely connected to traditional American film genre, and make it completely unfamiliar. Of course Freud would have called this simply the unheimlich or uncanny. But here again Schneider almost never plays the role of the psychologist, or, for that matter, seeks to impart any specific meanings to the photographic contents of her images. The works possess an edited behavioural narrative (she has made choices), but there is never a sense of there being a clearly defined story. Indeed, the uncertainty of my reading here presented, acts as a caveat to the very condition that Schneider’s photographs provoke. Invariably the settings of her pictorial narratives are the South West of the United States, most often the desert and its periphery in Southern California. The desert is a not easily identifiable space, with the suburban boundaries where habitation meets the desert even more so. There are certain sub-themes common to Schneider’s work, not least that of journeying, on the road, a feeling of wandering and itinerancy, or simply aimlessness. Alongside this subsidiary structural characters continually appear, the gas station, the automobile, the motel, the highway, the revolver, logos and signage, the wasteland...

Lucia and Tyka - 2019 55x65cm, Edition of 5 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Peel Apart Instant Film (not mounted). Signed on bac...

Max in front of Motel (29 Palms, CA) - diptych Edition of 10, 70x60cm each, 70x125cm installed with white 'Polaroid' frame. 2 analog C-Prints, hand-printed by the artist, based o...

Honey, I love you (Till Death do us Part) - 2007, 20x24cm, Edition 1/10. Digital C-Print, based on the Polaroid, Certificate and Signature label. Artist Inventory No. 8781. Not m...

Gabriela at Eleven - 2019 40x48cm, Edition of 7 plus 2 Artist Proofs. Photograph printed in Canson Baryta Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mou...

India in Blue (2018)
 48x40 cm, Edition of 7 plus 2 Artist Proofs. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Instant Film (not mounted). About myself I was born...

Wild Things (Till Death do us Part) - 2005 38x37cm, Edition of 10, plus 2 artist proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label, artist Inventor...

Max by the Pool (29 Palms, CA) - 1999, 20x20cm, Edition of 10, archival C-Print based on a Polaroid. Signature label and Certificate. Artist inventory number: 614. Not mounted. Schneider harnesses the unpredictable chemical mutations of expired Polaroid film, where bursts of color erupt across the surface, destabilizing the photograph's traditional allegiance to reality. These vivid distortions draw her characters into ethereal, trance-like dreamscapes. Like fleeting sequences from a vintage road movie, Schneider’s images shimmer with a transitory quality, dissolving before any definitive conclusions can be drawn. Their ephemeral essence is conveyed through subtle gestures and enigmatic motives. Refusing to yield to the constraints of reality, Schneider’s work keeps alive a delicate interplay of dream, desire, fact, and fiction, blurring the boundaries between them with poetic ambiguity. Stefanie Schneider’s work echoes the heart of American art, channeling the cinematic nostalgia of Ed Ruscha’s roadscapes, the stark sensuality of Georgia O’Keeffe’s deserts, and the haunting solitude of Edward Hopper...

Jimi Hendrix Palm Trees (Californication) - 2016 106x160cm, Edition 3/10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artis...

Interstate Flashback (Vegas) - 2004 55x72cm, Edition 4/5, Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signature label and Certificate artist inve...

Beloved (Stage of Consciousness) - 2007 65x80cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and certificate. Artist Inventory ...

Low Water (2014), 40 x 40 cm, Edition 1/7. Photograph printed in Hahnemühle Baryta Photo Rag 340gr, based on a Fuji Instant Film original (not mounted). Signed on back with Cert...

Radha at Fence (29 Palms, CA) - 1999 featuring Radha Mitchell 125x123cm, Edition of 5 plus 2 Artist Proofs. Analog C-Print, hand-printed and enlarged by the artist, based on the P...

First Steps (Burned) - Self Portrait - 1999 20x20cm, Edition 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist I...

Red Green Pathway - 2021 100x82cm, Edition 1/5. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Peel Apart Instant Film (not mounted). Signed on back with Certificate...

Burning Bright - The Getaway (The Last Picture Show) - 1999 50x50cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #2116...

Ravished (Till Death do us Part) - 2005 20x20cm, Edition of 10, plus 2 Artist Proofs, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #9...

Alphabet Soup (Till Death do us Part) - 2005, 128x127cm, Edition 3/5. Analog C-Print, hand-printed by the artist. based on the Polaroid. Artist Inventory No. 9283.03. Signature...

The River (The Girl behind the White Picket Fencet) - 2015 Featuring Udo Kier Edition 2/10, 48x47cm. Archival C-Print, based on the original Polaroid. Artist inventory #15756.02....