Field of Briar (Sidewinder) - Polaroid, 21st Century, Contemporary

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Stefanie Schneider
Field of Briar (Sidewinder) - Polaroid, 21st Century, Contemporary
2005

Name: Field of Briar (Sidewinder) - Polaroid, 21st Century, Contemporary
Brand: Stefanie Schneider
Rating: 4.9 (35 reviews)

About the Item

Field of Briar (Sidewinder) - 2005 Edition of 10, 20x24cm. Archival C-Print based on a Polaroid. Signature label and Certificate. Artist Inventory No. 3141. 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. fetishisized surface of extreme feelings gives a stage for an unsolicited promise of unconditional love and unlimited freedom, a promise framed by sensual tension between fulfilment 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 at his temple. Tell me what god’s gonna do for me and you now 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 dessert night who wakes so late. Orion is a belt John Baptiste looks at through the torn-screen trailer window. There, touching his calf are vipers crawling now across her feet between his knees in front of her he kneeling for his life and they are full of venom with their broken fangs. A gun at head, where even his breath, so short, is preaching. He’s in a wheat field. John Baptiste. Counting birds on telephone wires hung low in afternoon where his mother’s call cannot now reach him. There she stands a weeping willow with the sidewinder underneath the trailer step a drop of blood upon her ankle with the bullet through its head. A scar follows sweat palm to wrist. Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California 16 years ago but who’s counting 6 bullets for the barrel wait beside the temple. The long white shaft of tissue hemmed together gods tattoo along her ribs, hip to breast. She wants to fuck the preacher in her trailer with his bible on the alter front row Stevie asks forgiveness holy father from the car that shook her bones apart. John Baptiste asks to pray before she leads his temple head. For twenty minutes darkness hides the accidents in trailer shade her childish screams a preacher underneath her shimmer blue bled dress. The prayers he said beside the bed with mother for relatives with tumors, brand new bicycles, and rain. Stevie takes the whisky in her mouth to wash him out the sidewinder skids across her wounded foot of scars. John Baptiste asks the Lord to heal her in the new day that is breaking mouth of whisky spits it laughing father forgive the trigger finger for the viper he gives thanks And takes the barrel toward his lips through mumbling supplication kiss it Brother Stevie offers, please, but doesn’t wait him there. Copper penny Sunday School upon the tongue. And closed his eyes. A blur of her and mother. Other bodies. Women, gently crushing spirits. Prayers. His han under her weight in grams. The fingernail fang and fucks it. So slid the pull of metal out As god can answer. And into her mouth then. Settles. And wet the metal. He touches her, his finger. Viper like. And fuck it sore. Believers. Repentant whore forgiven preacher leaving town in that old ragtop down and left a rag dress bleeding in the Airstream soft, again.  (JD Rudometkin)  Stefanie Schneider's new photographic works tell fantastic stories about her adopted Californian home. She seeks out faded American myths and distils auratically charged reality in a very personal and surprising way. She uses out-of-date Polaroid film, and the blemishes caused by the degenerated film stock, - are included in the composition in a painterly way. Exposure mistakes and low budget movie effects are combined to alienating effect. Everything shimmers and flickers before our eyes. The artist plays with the authentic poetry of the amateur, mixing strangely dreamy staging with random photochemical events. In the 16-part work Frozen, which is characterized by a strangely transcendent mood in the lighting, film-still-like pictorial clusters come together to form a mysterious story, with the artist herself as the lonely protagonist. the aesthetic is reminiscent of early Lynch films. The components of the elliptically choreographed events are scenes from an enchanted, gleaming winter landscape, together with "staged snapshots" of a pale young woman in her underskirts, who radiates the troubled reality of a mirage with her sleep walking presence. The story is presented in the manner of cinematic flashbacks or dream sequences. Stage blood and a knife are used to evoke a crime of passion whose surreal attractiveness is derived from the scenic openess of what is shown. The deliberate use of old instant picture stock establishes in a richly faceted way the ephemeral quality of vulnerability and transience within a reality that is brittle from the outset. The American Stars and Stripes, recently updated as the absolute epitome of a patriotic signifier, is the subject of the 9-part work Primary Colors (2001). Schneider's reassuringly European view, free of undue emotion, presents the Stars and Stripes motif in a strangley alienated form: she shows stills with phases of fluttering violently in the wind, even torn in some cases, and the poor film stock emphazises the fragility of the icon even more. FlashART - Sabine Dorothee Lehner (translated from German by Michael Robinson)

Creator:
Stefanie Schneider (1968, German)
Creation Year:
2005
Dimensions:
Height: 7.88 in (20 cm)Width: 9.45 in (24 cm)Depth: 0.04 in (1 mm)
More Editions & Sizes:
50x60cm, Edition of 10Price: $1,031
Medium:
Archival Paper,Photographic Paper,C Print,Polaroid
Movement & Style:
Contemporary
Period:
2000-2009
Condition:
Gallery Location:
Morongo Valley, CA
Reference Number:
1stDibs: LU65238770712

Archival Paper, Photographic Paper, C Print, Color, Polaroid

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Field of Briar (Sidewinder) - Polaroid, 21st Century, Contemporary

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Stefanie Schneider
Field of Briar (Sidewinder) - Polaroid, 21st Century, Contemporary
2005

About the Item