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Stefanie SchneiderD. and Felix - Contemporary, 21st Century, Polaroid, Figurative Photography1997
1997
About the Item
D. and Felix (Stranger than Paradise) - 1997
Edition of 2/30.
Image size 16 x 21.6 inch,
External dimensions: 17.7 x 23.3 inch.
Archival C-Print, based on the Polaroid.
Mounted with matte UV protection and framed with an oak floater frame.
Signed on back with Certificate.
Artist Inventory No. 142.
Mounted on Dibond, matte UV-lamination
Floater Frame natural oak.
Stefanie Schneider: A Half-Forgotten Dream, Still Unfolding
The chemicals bloom, not quite obedient, but familiar. Stefanie Schneider knows them well—how the Polaroids bruise under the desert sun, how the colors bleed out like old memories, how the ghosts of the film’s past life seep into its present. It is not chance, not accident, not some fluke of expired film. It is time itself, arrested mid-motion, yet refusing to hold still.
Born by the sea, she fled inland. From the damp winds of Cuxhaven to the scorched open spaces of California. Germany had its walls—real and imagined—while the desert had only distance. It had promise and exile in equal measure. She chose it as her canvas, or maybe it chose her.
For decades now, Schneider has been unraveling this dream—half memory, half prophecy—through the language of faded film. She shoots in heat, in dust, in the fading light of a world that always seems on the verge of slipping away. Her frames are filled with longing: a woman half-turned, a motel at the end of the world, a road stretching toward some unfinished sentence. The film, always fickle, responds in kind, warping, resisting, adding its own story to the one she set out to tell.
Time, in her work, is not linear. It stutters, it loops. It forgets where it was going and doubles back. There are echoes—films she made long ago that still breathe, characters who refuse to settle into the past, projects abandoned but never quite gone. The Girl Behind the White Picket Fence waits at the edges of the frame, a whisper from another era. A film, yes, but also a relic, a ghost that insists on being seen.
Schneider does not rush. She lets the work speak when it is ready, lets the Polaroids sit in their imperfection, lets the film decay with dignity. This is not nostalgia—nostalgia is safe, a polished thing, neatly arranged on a shelf. Schneider’s world is raw, unkempt, trembling with something just out of reach.
And here she is, still at it. The exhibitions, the books, the never-quite-finished projects, the silent conversations between past and present. A career not measured in milestones, but in moments—frozen, melting, waiting to be remembered.
A half-forgotten dream, still unfolding.
- Creator:Stefanie Schneider (1968, German)
- Creation Year:1997
- Dimensions:Height: 23.3 in (59.19 cm)Width: 17.7 in (44.96 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Morongo Valley, CA
- Reference Number:1stDibs: LU652315970962
Stefanie Schneider
Stefanie Schneider received her MFA in Communication Design at the Folkwang Schule Essen, Germany. Her work has been shown at the Museum for Photography, Braunschweig, Museum für Kommunikation, Berlin, the Institut für Neue Medien, Frankfurt, the Nassauischer Kunstverein, Wiesbaden, Kunstverein Bielefeld, Museum für Moderne Kunst Passau, Les Rencontres d'Arles, Foto -Triennale Esslingen., Bombay Beach Biennale 2018, 2019.
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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)
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