C Print Nude Photography

Fugitives III (Till Death do us Part) - 2005, 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label. Artist Inventory No. 9363....

Formation is from a limited edition of 12. It is signed in pencil on back, Nude males are the falling leaves in this autumnal wonderland. A new book on the artist will be published in Spring. London-based Photographer and Graphic designer Omer Ga...

Autobiography - 2021 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Signed on the back and with certificate. Artist inventory PL2021-1028. No...

Letters from Madame - Touch, from the series mme.xposed, 2006, Archival C print based on the Polaroid, beautiful on Fine art Bright white by Hahnemuhle, mounted on Dibond - uncoated in shadow frame, Hand signed & numbered by the artist edition of 7 - nr 2 25x25cm Carmen De Vos - Artist statement Flying Freelance Portrayer. Purveyor of Exquisite Photographic Peculiarities. Chroniqueur and Archiver. Founder and Editor-in-Chief of the late TicKL-Magazine. The Belgian artist Carmen De Vos is a slow photographer. She registers, portrays and thinks up odd stories. She shoots Polaroids to frame these mental escapades, they get so easily out of hand. She enormously longs for what she’s afraid to loose: real human contact, the slowness of being and creating, the tangibility of materials. Almost without exception she uses old Polaroid camera’s, long time expired film and self-made filters. Her tools and methods - such as film bleaching and deliberate film obstruction - are not precise and are not even geared towards a perfect representation. They often yield results - such as colorisation, deformation, unsharpness - which she could never have predicted on forehand with any certainty, because their flaws do not allow for calculation. She’s not in control. She fights the material. She plans, stages and directs but the decayed chemistry and off-focus lenses add their magic. All by themselves. Which merrily surprises her. Or ruins her image. This battle attracts her as much as it frustrates her. She loves to create within these limitations, to try to produce the best possible image within the narrow circumstances given. Luckily, she’s a sucker for imperfections. Once upon a time she found herself guilty of home-crafted mischiefs for TicKL, her English art porn Polaroid magazine. She never really got cured from naughtiness. She can’t help but traveling back to these blessed times of free-love photography...

Exile - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-952. Not mounted. K...

Are we human (or are we dancers)? - 2020 78x76cm, Edition of 5 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inven...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20452. 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, that 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 have 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, the isolated train track and the trailer. If these form a loosely defined structure into which human characters and events are cast, then Schneider always remains the fulcrum and mechanism of their exposure. Sometimes using actresses, friends, her sister, colleagues or lovers, Schneider stands by to watch the chance events as they unfold. And, this is even the case when she is a participant in front of camera of her photo-novels. It is the ability to wait and throw things open to chance and to unpredictable circumstances, that marks the development of her work over the last eight years. It is the means by which random occurrences take on such a telling sense of pregnancy in her work. However, in terms of analogy the closest proximity to Schneider’s photographic work is that of film. For many of her titles derive directly from film, in photographic series like OK Corral (1999), Vegas (1999), Westworld (1999), Memorial Day (2001), Primary Colours (2001), Suburbia (2004), The Last Picture Show (2005), and in other examples. Her works also include particular images that are titled Zabriskie Point, a photograph of her sister in an orange wig. Indeed the tentative title for the present publication Stranger Than Paradise is taken from Jim Jarmusch’s film of the same title in 1984. Yet it would be dangerous to take this comparison too far, since her series 29 Palms (1999) presages the later title of a film that appeared only in 2002. What I am trying to say here is that film forms the nexus of American culture, and it is not so much that Schneider’s photographs make specific references to these films (though in some instances they do), but that in referencing them she accesses the same American culture that is being emptied out and scrutinised by her photo-novels. In short her pictorial narratives might be said to strip films of the stereotypical Hollywood tropes that many of them possess. Indeed, the films that have most inspired her are those that similarly deconstruct the same sentimental and increasingly tawdry ‘American Dream’ peddled by Hollywood. These include films like David Lynch’s Blue Velvet (1986), Wild at Heart (1990) The Lost Highway (1997), John Dahl’s The Last Seduction (1994) or films like Ridley Scott’s Thelma and Louise with all its girl-power Bonny and Clyde-type clichés. But they serve no more than as a backdrop, a type of generic tableau from which Schneider might take human and abstracted elements, for as commercial films they are not the product of mere chance and random occurrence. Notwithstanding this observation, it is also clear that the gender deconstructions that the characters in these films so often portray, namely the active role of women possessed of a free and autonomous sexuality (even victim turned vamp), frequently find resonances within the behavioural events taking place in Schneider’s photographs and DVD sequences; the same sense of sexual autonomy that Stefanie Schneider possesses and is personally committed to. In the series 29 Palms (first begun in 1999) the two women characters Radha and Max act out a scenario that is both infantile and adolescent. Wearing brightly coloured fake wigs of yellow and orange, a parody of the blonde and the redhead, they are seemingly trailer park white trash possessing a sentimental and kitsch taste in clothes totally inappropriate to the locality. The fact that Schneider makes no judgment about this is an interesting adjunct. Indeed, the photographic projection of the images is such that the girls incline themselves to believe that they are both beautiful and desirous. However, unlike the predatory role of women in say Richard Prince’s photographs, which are simply a projection of a male fantasy onto women, Radha and Max are self-contained in their vacuous if empty trailer and motel world of the swimming pool, nail polish, and childish water pistols. Within the photographic sequence Schneider includes herself, and acts as a punctum of disruption. Why is she standing in front of an Officers’ Wives Club...

Blue Water Pistol (29 Palms, CA), diptych - 1999 Edition 3/10, 67x60cm each, 67x128cm installed. 2 analog C-Prints, hand-printed by the artist, based on the Polaroids. Mounted on...

Ground force - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-953. Not moun...

Perfect Blend, 2017 Edition of 7 plus 2 Artist Proofs Based on a Polaroid, Archival C-print, Not mounted. Signed on the back and with certificate. Artist inventory PL2017-162 Kirs...

The Games we played (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9273. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till...

Boat to Nowhere - 2019 20x20 cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Not mounted. Signed on the back and with certificate. Artist invento...

Born to be Wild - 2014 30x30cm, Edition 3/10. Archival color print on Pearl photo paper, based on the Polaroid. Signed on the back. Not mounted. Whether in color and black and white, van Driessche’s photos marry the atmospheric qualities of integral and instant pack films with the sensuality of his models. The effect is often painterly, intimate, delicate. The softness and vulnerability of the nude feminine form is often juxtaposed with untamed landscapes or graphic urban architecture. Other photos in the series read like fine art paintings, with luminous colors and classic compositions. Van Driessche has traveled all over the world, taking photos wherever he goes. These days, he often schedules photo shoots with models when he travels, working with both professionals and amateurs. Despite being a perfectionist in his photography, van Driessche likes the unpredictable nature of expired film. He embraces its inherent perfections. He says it is thrilling when an instant photo develops before your eyes, and it happens to be exactly what you were hoping for. And equally frustrating when, for whatever reason, the photo just doesn’t work. He says that you have to be very sure of everything, the composition, the lighting, the poses, before pushing the button. Instant photography requires more thought and more patience than other forms of photography, but the rewards are worth the effort. His work has been widely featured, having appeared in Dreck Magazine, Tata Magazine, 100 Volume 1, Latent Magazine, Hylas Magazine, and Fine Art Photo Magazine. He has been interviewed by the on-line magazines Whataroll and Kaltblut and he recently participated in a group exhibition at the Brick Lane Gallery in London in March 2017. Van Driessche cites these photographers as his influences: Anton Corbjin, for his square format and black and white images; Helmut Newton for his nudes; Stephanie Schneider...

13 nude guys form a circle in the desert. This is number 1 from a limited edition of 12. The work is signed on the back. A book of the artists work will be published in early Spring London-based Photographer and Graphic designer Omer Ga...

Blue Water Pistol (29 Palms, CA), diptych - 1999 Edition of 10, 58x56cm each, analog C-Prints, hand-printed by the artist, printed on Fuji Crystal Arch...

Strange Math (The Princess and her Lover) - 2007 part of the 29 Palms, CA project. Edition of 10, 20x24cm. Archival C-Print, based on the Polaroid. Signature label and Certif...

This is number 1 from a limited edition of 12. London-based Photographer and Graphic designer Omer Ga'ash, graduated from Bezalel Academy of Art and De...

Salt on my Skin, 2017 - 80x80cm, Edition of 7 plus 2 Artist Proofs. Digital C-print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2017-102. Not mounted. Kirsten Thys van den Audenaerde is a self-taught freelance photographer, based in Brussels. Early on in her career, she discovered a fascination with art nude photography and since then the human body in its purest form has played a mayor role throughout her work. In 2016, after becoming increasingly frustrated with digital perfection, an impulse buy of The Impossible Project’s I-1 camera changed her life. Never having heard of TIP before, she describes making that first polaroid image as an instant love affair. Within weeks she had acquired several old polaroid cameras...

'Daisy on Bed' (Till Death do us Part) - 2005 38x47cm, Edition of 30 Archival C-Print print, based on the Polaroid, Certificate and signature label, ar...

'Red' (Bombay Beach) 2019, 20x20cm, Edition 2/7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Not mounted. Signed label & certificate. Artist inventory PL2019-5...

Reality (The Princess and her Lover) - 2007 part of the 29 Palms, CA project. Edition of 10, 20x24cm. Archival C-Print, based on the Polaroid. Signature label and Certificate...

Mulholland Drive - 2016 Edition 1/7. Archival Color Print on Pearl photo paper, based on the Polaroid. Signed on the back with Certificate. Not ...

Blue Iceland - 2017 24 x 30 cm, Edition 1/10. Archival Color print on Pearl photo paper, based on the original Polaroid. Signed on the back with Certificate. Not mounted. Whethe...

Boudoir III, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing p...

'Mirror, Mirror' (Bombay Beach) 2019 50x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory...

'Wake-up call' (Bombay Beach) - 2019 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on a Polaroid, Not mounted. Signed on the back and with certificate. Art...

For a limited time only these Slim Aarons prints are available to purchase at 15% discount. Please contact the gallery for any queries. Please bear ...

'Making out in Car' - Long Shot (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid, Certificate and Signature label artist Invent...

Playing Ball - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-838. Not ...

Morning Light (29 Palms, CA) - 1999 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory #21068. Not mounted. Schneid...

The Games we played (Till Death do us Part) - 2005 50x50cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

'Girls' (Till Death do us Part) - 2005 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid Certificate and Signature label artist Inventory No. 9361.08 Not mount...

This is number 1 from a limited edition of 12. It is signed on the back of the image. A new book on the artist's work will be released this Spring London-based Photographer and Graphic designer Omer Ga...

Dirty Martini, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 capturing...

Everlong - 2016, Edition of 7 plus 2 Artist Proofs Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2016-2003. Not mounted. K...

Homecoming - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-935. Not mo...

'Baby you can drive my Car' (Bombay Beach) - 2019 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid, Not mounted. Si...

Asleep - 2017 Edition of 7 plus 2 Artist Proofs. Archival Print, based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2017-149. Not mounted. Kirsten Thys van den Audenaerde is a self-taught freelance photographer, based in Brussels. Early on in her career, she discovered a fascination with art nude photography and since then the human body in its purest form has played a mayor role throughout her work. In 2016, after becoming increasingly frustrated with digital perfection, an impulse buy of The Impossible Project’s I-1 camera changed her life. Never having heard of TIP before, she describes making that first Polaroid image as an instant love affair. Within weeks she had acquired several old Polaroid cameras...

The other side of love - 2020 48x60cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-...

North Shore Yacht Club II (Back in the 80's) - 1999 48x46cm, Edition of 10. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label. ...

Animal nitrate - 2021 40x50cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2022-2007. ...

Bless me Father for I have sinned (Sidewinder) - 2005 - Edition of 1/10, 20x20cm, digital C-Print based on an expired Polaroid. Signature label and Certificate. Artist Inventory #...

Bend and break - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-958. No...

Male Nude VI (29 Palms, CA) - 1999, 20x20cm, Edition of 10. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory # 23700. Not mounted. T...

Tropics Motor Motel II (Memories of Green) - 1999 Edition 1/10, 58x56cm. ANALOG C-Print, hand-printed and enlarged by the artist Stefanie Schneider on Fuji Crystal Archive Paper, ...

Polaroid, 2007 / 2018 Edition, 30x30cm from the series mme.xposed, Digital color print based on an original Polaroid, mounted on dilite 2mm - with gloss UV-Protection Alu profiles on...

Moments in Time (Sidewinder) - 2005 Edition of 5, 20x20cm each, hanging 20x45cm together, including the gap analog C-Prints, hand-printed and enlarged by the artist, based on the 2...

Come undone - 2019 50x50 cm, Edition of 7 plus 2 Artist Proofs. Archival C-Print based on the Polaroid, not mounted. Signed on the back and with certificate. Artist inventory...

Square one - 2020 50x50cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-950. Not mo...

Girl Nude (29 Palms, CA) - 1999 Edition of 10, plus 2 Artist Proofs, 50x50cm, Archival C-Print, Not mounted, based on the Polaroid, Signature label and Certificate, Artist inve...

Square one - 2020 20x20cm, Edition of 7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and with certificate. Artist inventory PL2020-950. Not mounte...

'Foreverly' (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label artist Inventory Nr. 11...

Love Scene against the Wall (Sidewinder), part 4 - 2007 40x40cm, Edition of 10. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory No. 3277. ...

Blinding - 2022 20x20cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back with certificate. Artist inventory PL2022-2049. Not mounted...

I wanna be sedated - from the series The crazy Adventures of David C. 2019, 20x20cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid. Signed on the back and w...

No one to run with - 2020 20x20cm, Edition of 7 and 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-914....

Wild Things (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...

Lucid Dreams - 2020 40x40cm, Edition of 7 plus 2 Artist Proofs, Archival C-Print based on the Polaroid. Signed on the back and with certificate. Artist inventory PL2020-942. Not ...