C Print Portrait Photography

Max by the Pool (29 Palms, CA) - 1999 Edition 7/10, 67x60cm including the white 'Polaroid' frame. Analog C-Print, hand-printed by the artist, based on the Polaroid, mounted on Al...

'There is no Forever' (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. 9080...

Long Way Home (Stranger than Paradise) - 1999 128x125cm, Edition of 10, analog C-Print based on the Polaroid, hand-printed by the artist on Fuji Crystal Archive Paper, Not mount...

'Penelope' from the movie Immaculate Springs - 1998 58x57cm, Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signature Label ...

Kirsten lights a cigarette (29 Palms, CA) - 1999 58x56cm, Edition of 10, analog C-Print, hand-printed by the artist, based on the Polaroid, Not mounted, Signature label and Cert...

The Map (Stage of Consciousness) - 2007 20x24cm, Edition of 10, Archival C-Print, artist Inventory Nr. 7709.01 Certificate and signature label, Not mounted, featuring Udo Kier. ...

Untitled (Traintracks) - The last Picture Show - 2004 38x37cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Arti...

Transformation (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, Not mounted, Signature label and Certificate. Artist Inventory No. 1675.01. Th...

Stellar (Stage of Consciousness) - 2007 featuring Radha Mitchell 20x24cm, Edition of 10/10. Archival C-Print, based on a Polaroid. Certificate and Signature label. Artist Inven...

When I was with my goat (The Girl behind the White Picket Fence) - 2013 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist ...

Her last Call II (The Girl Behind the White Picket Fence) - 2013 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Artist Inventory # 16495. Not mounted. Featuring Heather Megan Christie. Offered is a piece from the movie: The Girl Behind the White Picket Fence 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 a vintage Spartan 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 despite 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 10-acre property in Morongo is dotted with vintage trailers. They surround her midcentury home, and serve as sets for her photo shoots 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...

Marlboro (Stranger than Paradise) - 1997 38x47cm, Edition of 30, Archival C-Print based on the Polaroid, Not mounted, Signature label and Certificate, artist Inventory Nr. 127...

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 ...

Jersey Girls Gold, photograph from Richard Heeps Jersey Shore series. Vintage matchbooks from New York's Chelsea Flea Market featuring nudes from the 1940's are reimagined by Richard...

High Noon - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #21980. S...

Whispers in the Sun - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory ...

Nowhere - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #726. Signa...

Oxana (Stage of Consciousness) - 2007 75x93cm, Edition 3/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on a Polaroid. Mounted ...

Jersey Girls Yellow, photograph from Richard Heeps Jersey Shore series. Vintage matchbooks from New York's Chelsea Flea Market featuring nudes from the 1940's are reimagined by Richa...

'Tales of Bitter Doom #35' by Carmen De Vos, Edition of 7, 30x30cm, 2018 digital C-Print, based on a Polaroid mounted on Dibond - gloss coating, hand signed & numbered by artist on ...

'Hans and Penelope' from the movie Immaculate Springs - 1998 - Edition of 10, 20x24cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certifi...

A piece of art from the movie 'Stay' by Stefanie Schneider Stefanie created the art for both main actors Naomi Watts and Ryan Gosling in the movie 'Stay' directed by Marc Forster. S...

Untitled (Beachshoot) - 2005 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory # 21398. Not mounted. Beach shoot These photographic fantasies are determined by carefully chosen constraints and the use of symbolic attributes. Telegraph poles, airplanes, vast wastelands, a train bridge or a 50s American car tell in the same manner different stories, as do lurid wigs, kids toys...

The Heist - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #21978. S...

The Games we played (Till Death do us Part) - 2005 60x60cm, Edition of 10, plus 2 artist proofs. Archival C-Print print, based on the Polaroid. Certificate and Signature label, a...

Today's Heros (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on a Polaroid, Not mounted, Signature label and Certificate. Artist Inventory No. 330.01. This pr...

Richard Heeps' is well known for his Rockabilly Series, 'Man's Ruin' which features many aspects of the Rockabilly lifestyle such a the cars, the fashion and the people. This cool co...

Frenzy (Sidewinder) - 2005 Edition of 30, 38x48cm, Archival C-Print, based on the Polaroid, not mounted, Signature label and Certificate, artist Inventory No. 3048. Published i...

Belles of Shoreditch, from Richard Heeps Burlesque series. Richard Heeps became well-known for his Burlesque Photography after he spent 2003 ca...

Please note that as of 1st March 2025, the Slim Aarons Estate Stamped Collection aligned its pricing across the entire collection. Please bear in mind that all prints are produced t...

The Existence is disintegrating into the Heat of the Desert Sirocco (The Girl behind the White Picket Fence) - 2015 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Prin...

To the Wonder (The Girl behind the White Picket Fence) 70x90cm, Edition 1/5, 2013. Analog C-Print, hand-printed by the artist, based on an expired Polaroid. Certificate and Signat...

Our desert is the fucking palace of pussy, darling! (Till Death do us Part) - 2008 20x24cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signatur...

Radha Shooting II (Long Way Home) - 1999 published in 'Stranger than Paradise' 128x126cm Sold out edition of 5, Artist proof 2/2, Analog C-Print, hand-printed by the artist, based...

No Effects (Ensign Broderick record Shoot 'Blood Crush') - Bombay Beach, CA - 2019 20x24cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature...

Gow, Thailand, 1987 - 30x20cm, Edition of 10. Archival C-Print based on a 35mm negative. Signed on back with Certificate. Not mounted.

1 Stefanie Schneider Mini 'Self Portrait' - 1999 - signed in front, not mounted. 1 Digital Color Photographs based on a Polaroid. Polaroid sized open Editions 1999-2016 10.7 x 8...

'Untitled' (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, artist inventory number: 10032.01, Mounted on Aluminum with matte UV-Protection. 29 PALMS, CA is a film / art piece that explores and chronicles the dreams and fantasies of a group of individuals who live in a trailer community in the Californian desert. The world depicted in the film is inspired by the photographs of German artist Stefanie Schneider in that it combines the notions of reality and fantasy and explores the resonance of both within a desert landscape and a transient culture. The characters portrait in the film, (an actress, a singer, a DJ, a motel owner and his wife, a US army soldier, a mystic, a princess, a recluse, a movie ticket seller, two hitchhikers, a doctor, and so on), are to be played by both actors and non-actors. The story is constructed through the interpretation of real life communications (i.e. phone calls, emails, conversations) that have taken place as the individuals depicted in the story try to make sense of events that have occurred in real life. In this sense the story is, in part, a biography and social commentary, and the characters are the exaggerated alter egos of the individuals who play them. The structure of the plot is fairly simple. An actress working as a telemarketer is inspired by a singer who is new to town and is featured on the local radio station. The radio station runs a program for lonely hearts and a charismatic DJ uses the show to reveal the hopes and dreams of the towns “hottest women”. One night a panicked German female caller captivates the community with a painful story about a sexy “Smoke Jumper” (a mysterious and super real alpha male). Everybody in town is listening to the program and nobody is quite sure what to say. Life in general continues and we witness and explore the various interactions. The actress meets the singer and they become famous. The US Army soldier dies on his way to battle. The foreign princess discovers that the jewels she has come to sell are fake. The motel owner‘s wife has an affair with the pool boys and so on. All the while the community is united by their loyalty to the “Lonely Hearts” radio show and through the disturbing revelations of the German woman...

When I was with my goat (The Girl behind the White Picket Fence) - 2013 50x60cm, Edition of 10, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist ...

Long Way Home (Stranger than Paradise) - 1999 3 x 50x49cm, installed with gaps 50x159cm. Edition of 10, plus 2 Artist Proofs. Archival C-Prints, based on 3 Polaroids Certificate...

Stefanie Schneider Polaroid sized unlimited Mini 'Max by the Pool' - 1999 - signed in front, not mounted. 1 Digital Color Photograph based on a Polaroid. Polaroid sized open Edi...

Posing II (Wastelands), 2003 Edition of 10, 38x37cm, Archival C-Print, based on the Polaroid. Signature label and Certificate. Artist Inventory No 117...

Other Desert Cities (Sidewinder) - 2005 Edition 1/5, 13 piece, 48x46cm each, 160x320cm installed with gaps. Analog C-Print, hand printed by the artist, based on 13 original Polaro...

Poupée, 2020 50x50cm, Edition 1/7 plus 2 Artist Proofs, digital C-Print based on a Polaroid, not mounted. Signed on the back and with certificate. Artist inventory - PL2020-869....

Sunscreen II (Beachshoot) - 2005 128x125cm, Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the Polaroid. Certificate and Signature label...

Max, Trailer Park (29 Palms, CA) - 1999 Edition 3/10, 68x60cm including white 'Polaroid' frame. Analog C-Print, hand-printed by the artist, based on the Polaroid. Mounted on Alum...

Outtake (Wastelands) - 2003 Edition of 5, 128x125cm, analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid, Artist inventory Number 819.01, complete with certificate and signature label Not mounted For sale is a piece from the Wastelands series. purchase the 2nd edition and have it unmounted. Exhibited: Wastelands, Städtische Galerie, Waldkraiburg, Germany (S) (2006) / Wastelands, Zephyr, Mannheim, Germany (S) (catalog) (2006) Wastelands, Kunstverein Recklinghausen, Germany (S) (2007) Published in: WASTELANDS published by edition braus, Wachter Verlag, Heidelberg, 2006 (monograph) Reality with the Tequila: Stefanie Schneider’s Fertile Wasteland by James Scarborough “How much more than enough for you for I for both of us darling?” (E. E. Cummings) Until he met her, his destiny was his own. Petty and inconsequential but still his own. He was cocksure and free, young and unaccountable, with dark hair and aquiline features. His expression was always pensive, a little troubled, but not of a maniacal sort. He was more bored than anything else. With a heart capable of violence. Until she met him, she was pretty but unappreciated. Her soul had regis- tered no seismic activity. Dust bowl weary, she’d yet to see better days. A languorous body, a sweet face with eyes that could be kind if so inclined. Until she met him, she had not been inclined. It began when he met her. She was struck in an instant by his ennui. The sum of their meeting was greater than the imbroglios and chicaneries of their respective existences. He was struck by the blank slate look in her eyes. They walked, detached and focused on the immediate, obscenely unaware of pending change across a terrain of mountainous desert, their eyes downcast and world-weary, unable to account for the buoyant feeling in her heart. His hard-guy shtick went from potentiality to ruse. The gun was not a weapon but a prop, a way to pass time. Neither saw the dark clouds massing on the horizon. They found themselves alone in the expanses of time, unaware of the calamity that percolated even as they posed like school kids for the pic- tures. Happiness brimmed in that wild terrain. Maybe things were begin- ning to look up. That’s when the shooting started… Stefanie Schneider assumes that our experience of lived reality (buying groceries, having a relationship with someone, driving a car) does not correspond to the actual nature of lived reality itself, that what we think of as reality is more like a margarita without the tequila. Stefanie Schneider’s reality is reality with the tequila. She does not abol- ish concepts that orient us, cause and effect, time, plot, and story line, she just plays with them. She invites us to play with them, too. She offers us a hybrid reality, more amorphous than that with a conventional subject, verb, and predicate. Open-ended, this hybrid reality does not resolve itself. It frustrates anyone with pedestrian expectations but once we inebriate those expectations away, her work exhilarates us and even the hangover is good. An exploration of how she undermines our expectation of what we assume to be our lived reality, the reasons why she under- mines our expectations, and the end-result, as posited in this book, will show how she bursts open our apparatus of perception and acknowl- edges life’s fluidity, its density, its complexity. Its beauty. She undermines expectations of our experience of reality with odd, other- worldly images and with startling and unexpected compressions and expansions of time and narrative sequence. The landscape seems familiar enough, scenes from the Old West: broad panoramic vistas with rolling hills dotted with trees and chaparral, dusty prairies with trees and shrubs and craggy rocks, close-up shots of trees. But they’re not familiar. These mis-en-scenes radiate an unsettling Picasso Blue Period...

Light (Stage of Consciousness) - 2007 20x24cm, Edition of 10, Archival C-Print, Not mounted, artist Inventory Nr. 7729.01, featuring Udo Kier THE GREATER THE EMPTINESS THE G...

Beloved (Stage of Consciousness) - 2007 65x80cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and certificate. Artist Inventory No...

The other day I was sure I knew what is good and what is bad (The Girl behind the White Picket Fence) - 2015 20x20cm, Edition of 10, plus 2 Artist Proofs. Digital C-Print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 13866. Not mounted. Offered is a piece from the movie: The Girl behind the White Picket Fence A tale told with blemished and expired Polaroid film about the hopes and dreams of an newly orphaned girl after loosing her parents who lived in Californian desert in an vintage Spartan travel-trailer . -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice over monoloque - 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 girls 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 10 acre property in Morongo is dotted with vintage trailers. They surround her midcentury home, and serve as sets for her photo shoots 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...

I feel so alone! (Till Death do us Part) - 2007 20x24cm, Edition of 10, Archival C-Print, based on the Polaroid Certificate and Signature label. Artist Inventory No.8658 Not mount...

Wavelength - 1999 Edition of 10, 20x20cm. Archival C-Print, based on the Polaroid. Signature label and Certificate. Not mounted. Stefanie Schneider: A German view of the Ameri...

Heather and Zeuss (The Girl behind the White Picket Fence) - 2013, 20x24cm, Edition 10/10, digital C-Print print, based on a Polaroid. Certificate and Signature label. Artist Inventory # 13137.17. Not mounted, featuring Heather Megan Christie Stefanie Schneider By Caroline Ryder Travel up a bumpy dirt road in 29 Palms, California, 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 10 acre property is dotted with vintage trailers. They surround her mid century home, and serve as sets for her photo shoots 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 named Heather, and played by Heather Megan Christie, 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. 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 the project 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. 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 couldn't travel to the desert. Filming took place in Spring 2011 and 2012. Schneider will submit the film to the Slamdance film festival 2018 and it was broadcast in 2013 by leading German television channel, Arte. For more information visit Stefanie's 29 Palms, CA project. Film features original soundtrack with songs by Adam Weiss, Daisy McCrackin, Billy Harvey, Sophie Huber, Zoe Bicat, Max Sharam, Cheyenne...

I swing to see the world upside down - 2020 - 40x33cm, Edition of 10, plus 2 Artist Proofs. Photograph printed on Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant...

This Roadside Giant is called 'Poor Richard', ironic really considering the artists' name, and the sad state of his broken off head. Poor Richard refers t...

'Making out in Car' - Long Shot (Till Death do us Part) - 2005 20x20cm, sold out Edition of 10, Artist Proof 1/2. Archival C-Print print, based on the Polaroid, Certificate and Si...

New release July 2022. Museum quality fine art print of David Bowie by photographer Markus Klinko, from his celebrated collection "Bowie Unseen", released for the first time in 2016....

The Hideout - The Getaway (The Last Picture Show) - 1999 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Artist Inventory #910. S...