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Stefanie Schneider
Untitled (Olancha) - Stranger than Paradise - Hand print - analog C-Print

2006

$1,754.32
£1,308.47
€1,500
CA$2,405.39
A$2,702.18
CHF 1,438.07
MX$33,413.55
NOK 17,523.07
SEK 16,942.29
DKK 11,412.37
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About the Item

Untitled (Olancha) - 2006 38x37cm. Edition of 5, plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 741. Not mounted. That’s a compelling quote — "If you want to learn what someone fears losing, watch what they photograph." When applied to Stefanie Schneider’s work, it reveals a rich undercurrent of longing, fragility, and the ache of impermanence. Schneider's Polaroids are drenched in the ephemeral: sun-bleached deserts, abandoned motels, half-glimpsed lovers, wistful stares, and dreamlike stillness. These are not just aesthetic choices — they are emotional records. What she photographs — fleeting light, transient beauty, broken timelines — suggests a fear of losing time itself, along with memory, youth, love, and emotional connection. Her use of expired Polaroid film isn’t nostalgic for the sake of style — it’s a deliberate act of preservation in the face of decay. The film is already breaking down, much like the moments she captures. But instead of resisting that, she embraces it. There’s a tender defiance in her images: If I photograph it now — even as it fades — I can keep it alive a little longer. In that sense, Stefanie may fear losing: Authentic emotional connection, seen in her raw, unguarded portraits. The California dream, which in her work is always both seductive and slipping away. The past, not as it was, but as it felt. Intimacy, in all its forms — romantic, familial, or even self-reflective. Each photograph is like a fragile spell cast against forgetting. They’re not about preserving perfection — they’re about holding onto what’s real, even when it’s broken or about to vanish.

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