Instantdreams Art

The world is mine - 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 PL2020-101...

Renée's Dream XV (Days of Heaven). Part of the 29 Palms, CA project. - 2006 Edition of 10, 20x20cm, archival C-Print, based on the Polaroid. Signature label and certificate. Arti...

Burning Field (Stranger than Paradise) - 2004, 20x20cm, Edition of 10, Archival C-Print, based on the Polaroid. Artist Inventory # 779.20. Mounted on Aluminum with matte UV-Pro...

The Edge of Suburbia (Suburbia) - 2004 20x24cm, Edition of 10, Archival C-Print based on the Polaroid, not mounted. Signature label and Certificate. Artist Inventory No. 422.01....

Living in a Dream (Till Death do us Part) - 2005 20x20cm, Edition of 10, Archival C-Print print, based on the Polaroid. Certificate and Signature label, artist Inventory No. 9781. Not mounted. on offer is a piece from the movie "Till Death do us Part" Stefanie Schneider’s Till Death Do Us Part or “There is Only the Desert for You.” BY DREW HAMMOND Stefanie Schneider’s Til Death to Us Part is a love narrative that comprises three elements: 1. A montage of still images shot and elaborated by means of her signature technique of using Polaroid formats with outdated and degraded film stock in natural light, with the resulting im ages rephotographed (by other means) enlarged and printed in such a way as to generate further distortions of the image. 2. Dated Super 8 film footage without a sound track and developed by the artist. 3. Recorded off-screen narration of texts written by the actors or photographic subjects, and selected by the artist. At the outset, this method presupposes a tension between still and moving image; between the conventions about the juxtaposition of such images in a moving image presentation; and, and a further tension between the work’s juxtaposition of sound and image, and the conventional relationship between sound and image that occurs in the majority of films. But Till Death Do Us Part also conduces to an implied synthesis of still and moving image by the manner in which the artist edits or cuts the work. First, she imposes a rigorous criterion of selection, whether to render a section as a still or moving image. The predominance of still images is neither an arbitrary residue of her background as a still photographer—in fact she has years of background in film projects; nor is it a capricious reaction against moving picture convention that demands more moving images than stills. Instead, the number of still images has a direct thematic relation to the fabric of the love story in the following sense. Stills, by definition, have a very different relationship to time than do moving images. The unedited moving shot occurs in real time, and the edited moving shot, despite its artificial rendering of time, all too 2009often affords the viewer an even greater illusion of experiencing reality as it unfolds. It is self-evident that moving images overtly mimic the temporal dynamic of reality. Frozen in time—at least overtly—still photographic images pose a radical tension with real time. This tension is all the more heightened by their “real” content, by the recording aspect of their constitution. But precisely because they seem to suspend time, they more naturally evoke a sense of the past and of its inherent nostalgia. In this way, they are often more readily evocative of other states of experience of the real, if we properly include in the real our own experience of the past through memory, and its inherent emotions. This attribute of stills is the real criterion of their selection in Til Death Do Us Part where consistently, the artist associates them with desire, dream, memory, passion, and the ensemble of mental states that accompany a love relationship in its nascent, mature, and declining aspects. A SYNTHESIS OF MOVING AND STILL IMAGES BOTH FORMAL AND CONCEPTUAL It is noteworthy that, after a transition from a still image to a moving image, as soon as the viewer expects the movement to continue, there is a “logical” cut that we expect to result in another moving image, not only because of its mise en scène, but also because of its implicit respect of traditional rules of film editing, its planarity, its sight line, its treatment of 3D space—all these lead us to expect that the successive shot, as it is revealed, is bound to be another moving image. But contrary to our expectation, and in delayed reaction, we are startled to find that it is another still image. One effect of this technique is to reinforce the tension between still and moving image by means of surprise. But in another sense, the technique reminds us that, in film, the moving image is also a succession of stills that only generate an illusion of movement. Although it is a fact that here the artist employs Super 8 footage, in principle, even were the moving images shot with video, the fact would remain since video images are all reducible to a series of discrete still images no matter how “seamless” the transitions between them. Yet a third effect of the technique has to do with its temporal implication. Often art aspires to conflate or otherwise distort time. Here, instead, the juxtaposition poses a tension between two times: the “real time” of the moving image that is by definition associated with reality in its temporal aspect; and the “frozen time” of the still image associated with an altered sense of time in memory and fantasy of the object of desire—not to mention the unreal time of the sense of the monopolization of the gaze conventionally attributed to the photographic medium, but which here is associated as much with the yearning narrator as it is with the viewer. In this way, the work establishes and juxtaposes two times for two levels of consciousness, both for the narrator of the story and, implicitly, for the viewer: A) the immediate experience of reality, and B) the background of reflective effects of reality, such as dream, memory, fantasy, and their inherent compounding of past and present emotions. In addition, the piece advances in the direction of a Gesammtkunstwerk, but in a way that reconsiders this synaesthesia as a unified complex of genres—not only because it uses new media that did not exist when the idea was first enunciated in Wagner’s time, but also because it comprises elements that are not entirely of one artist’s making, but which are subsumed by the work overall. The totality remains the vision of one artist. In this sense, Till Death Do Us Part reveals a further tension between the central intelligence of the artist and the products of other individual participants. This tension is compounded to the degree that the characters’ attributes and narrated statements are part fiction and part reality, part themselves, and part their characters. But Stefanie Schneider is the one who assembles, organizes, and selects them all. THE RELATIONSHIP BETWEEN THIS IDEA (above) AND PHOTOGRAPHY This selective aspect of the work is an expansion of idea of the act of photography in which the artistic photographer selects that which is already there, and then, by distortion, definition or delimitation, compositional and lighting emphasis, and by a host of other techniques, subsumes that which is already there to transform it into an image of the artist’s contrivance, one that is no less of the artist’s making than a work in any other medium, but which is distinct from many traditional media (such as painting) in that it retains an evocation of the tension between what is already there and what is of the artist’s making. Should it fail to achieve this, it remains, to that degree, mere illustration to which aesthetic technique has been applied with greater or lesser skill. The way Til Death Do Us Part expands this basic principle of the photographic act, is to apply it to further existing elements, and, similarly, to transform them. These additional existing elements include written or improvised pieces narrated by their authors in a way that shifts between their own identities and the identities of fictional characters. Such characters derive partially from their own identities by making use of real or imagined memories, dreams, fears of the future, genuine impressions, and emotional responses to unexpected or even banal events. There is also music, with voice and instrumental accompaniment. The music slips between integration with the narrative voices and disjunction, between consistency and tension. At times it would direct the mood, and at other times it would disrupt. Despite that much of this material is made by others, it becomes, like the reality that is the raw material of an art photo, subsumed and transformed by the overall aesthetic act of the manner of its selection, distortion, organization, duration, and emotional effect. * * * David Lean was fond of saying that a love story is most effective in a squalid visual environment. In Til Death Do Us Part, the squalor of the American desert...

'Prince Cuckoo's Indian Dream' - 2017 (Chicks and Chicks and sometimes Cocks) Edition of 10, 20x24cm, archival C-Print, based on a Polaroid. Artist inventory 20022. Not mounted....

Miss America (Sidewinder), diptych - 2005 Edition of 5. plus 2 artist Proofs. 38.5 x 38 cm each, installed 38.5 x 81cm. Analog C-Print, hand-printed by the artist in September 20...

Zoe and Charlie Brown (Chicks and Chicks and sometimes Cocks) - 2016 Edition of 10, 20x24cm. Archival C-Print, based on an expired Polaroid. Signature and Certificate. Artist inv...

Dancer on the Beach III (Stranger than Paradise) - 1997 44x56cm. Edition 5/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Artist inventory Number 103.05. ...

In the Range of Light (Wastelands) - 2003, (published in the monographs 'Stranger than Paradise', and 'Wastelands') 20x20cm, Edition 5/5, Archival C-Print, based on the Polaroid....

Bois de Bologne (Paris) (Paris) - 1995 - Edition of 5, 50x60cm including white borders. Analog C-Print, hand-printed by the artist and based on t...

My own private Travel Diary - Bishop, CA - Happy - 2001 20x29cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid Slide. Signature label and Certifi...

Something (Till Death do us Part) - 2005 40x40cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9445. Not mou...

The Sound of Music (29 Palms, CA) - 2009 Polaroid - Unique Piece 1/1, 7.2 x 8.9cm (image area) 10.1 x 10.0 cm ( including white Polaroid frame) Artist Inv. #24143. Signed on verso...

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...

Traveling the Tide (Cuxhaven)- 2015 20x25cm, Edition of 10, plus 2 Artist Proofs. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory numb...

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...

'Renée's Dream' no. 7 (Days of Heaven) - 2005 18 x 24 cm. Lumas Edition 99/100. Archival C-Print, based on an expired Polaroid. Artist inventory 8080. Signature Label and certif...

Outback (Till Death do us Part) - 2016 40x40cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9305 Not mounte...

Tricks (Till Death do us Part) - 2016 43x59cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9764 Not mounted...

Outgoing (Till Death do us Part) - 2016 40x40cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9006. Not moun...

Duet (Till Death do us Part) - 2016 50x50cm, Edition of 10. Archival C- Print, based on the Polaroid. Certificate and signature label. Artist inventory number: 9441. Not mounted....

Suburbia (Suburbia) - 2004 Edition of 5, 60x80cm each, 200x170cm installed. 6 analog C-Prints, hand-printed by the artist on Fuji Crystal Archive Paper, matte surface, based on 6 o...

'Hill View Motel X' (29 Palms, CA) - 1999 One Original Polaroid - Unique Piece 1/1, 7.8 x 7,7cm (image area) 10.7 x 8.7 cm ( including white Polaroid frame) Artist inventory 21982.00 This Polaroid is of the artist Stefanie Schneider taken during her 29 Palms, CA photoshoot in 1999. Signed by Stefanie on the back with the inventory number of 21364, crossed out...

Moving in Together (Till Death do us Part) - 2008 125x154cm, Edition 1/5. Analog C-Print, hand-printed by the artist on Fuji Crystal Archive Paper, based on the Polaroid. Certifi...

Gas station at Night I (Stranger than Paradise) - 1999 38x36cm, Edition of 30, Archival C-Print, based on the Polaroid, Certificate and Signature label. Artist Inventory # 390, ...

Turning (Zuma Beach) - 1997 43x59cm, Edition of 4/5. Analog C-Print, hand-printed by the artist, based on the Polaroid. Signature Label and Certificate. Artist Inventory # 111.04. ...

Untitled (Fairytales) - 2006 98x96cm, Edition 3/5. Analog C-Print, hand-Printed by the artist on Fuji Crystal Archive Paper, matte finish, based on the Polaroid. Certificate an...

Stillness (Zuma Beach) - 2004 29x28cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20433. N...

A lonely and deserted Place (The Girl behind the White Picket Fence) - 2013, 80x80cm, Edition 2/5. Analog C-Print, hand-printed by the artist on printed on Fuji Archive Paper, ba...

Memories Are Made Of This (America) 2016, 40 x 40 cm, edition of 10, digital C-Print based on a Polaroid, hand-numbered and signed on the back by the artist. Artist Statement “Since my childhood days I always loved taking photos, but for unknown reasons instant film never really caught my attention. After I saw the works of a friend who happened to be a gifted Polaroid photographer, I was totally mesmerized and the desire to shoot with instant film constantly grew in me. But for as long as I can think music has always been my main preoccupation. I somehow always feel the need to create, but my focus shifted more and more from making music to instant photography and it grew into something much more fulfilling and pure. Sometimes, these two passions even come together when I am able to provide my photos for album artworks – this makes me incredibly happy. As I always have been very introverted and reclusive I often drift off into my own inner world. The dreamlike landscapes and surreal atmospheres in my work are the visualization and the result of these imaginations. Another influence on my photography is my essential need to travel the world. But I am not interested in documenting the places I see like they are but rather love to create otherworldly scenes by adding the dreamlike texture of instant film, serving me as a needful escape from reality.” Artist Biography Julia Beyer is an analogue photographer from Germany. She mainly works with instant film to express her inner visions that often show dreamlike landscapes and surreal atmospheres. After being more known for her musical endeavors as the singer of the dreampop band Chandeen, she began to delve into this photographic art form in 2014 and since then expands her portfolio continuously. Her work has been published in various international print and online publications. Since 2017, she is a member of the renowned "12:12 Project", a worldwide collective of female Polaroid photographers. Selected Press and Publications: Feature in “Photodarium” Calendar 2016, 2017 and 2018 (Germany) Print feature in Monochrome Mag issue four: Instant (Australia) Print feature in Double Exposure Zine, Issue 2 // Vacancy (USA) Shoot Film UK, Issue #001 “Overexposed” (UK) Feature in The Impossible Project Magazine Artwork photography...

Under Water (Zuma Beach) - 2004 38x37cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label....

Castaway (Last Picture Show) - 1999 40x40cm, Edition of 10, Lambda Print based on the Polaroid Certificate and signature label artist inventory number: 869. Not mounted. Instan...

Untitled (Last Picture Show) - 2001 40x40cm, Edition of 10, Lambda Print based on the Polaroid Certificate and signature label artist inventory number: 1268. Not mounted. Insta...

Untitled 03 (Oxana's 30th Birthday) starring Radha Mitchell - 2007, 48x40cm, Edition of 10. Archival C-Print print, based on the Polaroid. Certificate and Signature label. Arti...

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...

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...

Joshua's Muse II from the series Joshua Tales 30x30cm, Edition of 7, 2017. Archival Color Print on Pearl photo paper, based on the original Polaroid. Signed on the back with Certificate. 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...

Pas de deux (Chicks and Chicks and sometimes Cocks) - 2017 Edition of 10, 20x20cm, Archival C-Print, based on the Polaroid Artist inventory 20056. Signature label and Certificate...

'Penelope' from the movie Immaculate Springs - 1998 Edition of 10, 50x50cm, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature Label and Certificate. Artis...

Sentinel (Joshua Tree) - 2022 20x20cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on back with Certificate. Not mounted. Erin Dougherty...

Sentinel (Joshua Tree) - 2022 20x20cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on back with Certificate. Not mounted. Erin Dougherty...

The Elder (Joshua Tree) - 2022 20x20cm, Edition of 7, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signed on back with Certificate. Not mounted. Erin Doughert...

Young Duke (Chicks and Chicks and sometimes Cocks) - 2017 20x24cm, Edition of 10. Archival C-Print, based on a Polaroid. Artist inventory 22245. Signature label and Certificate. Not mounted. The 'Chicks and Chicks' series is part of my Desert Living Project, which encompasses all aspects of organic...

The Nurse (Heather's Dream) - 2013 100x125cm, Edition of 25, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and signature label. Artist Inventory Numbe...

10525 (Stranger than Paradise) - 1999, Edition 9/10, 5 analog C-Prints, hand-printed by the artist, based on 5 Polaroids. each 57x56 cm, installed with gaps 57x308cm. Certific...

Untitled (Saigon) - 2003 Edition 2/5, 58x56cm, analog C-Print, hand-printed by the artist, on matte Fuji Crystal Archive Paper. based on an expired Polaroid. Artist inventory Num...

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. ...

Pins and needles - Polaroid - Unique piece - 2019 Original Polaroid - Unique Piece, signed and titled on back. 7.8 x 7,7cm (image area) 10.7 x 8.7 cm ( including white Polaroid ...

Snow Flakes (Californication) - 2021 20x24cm. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Numb...

Beam me up (Californication) - 2019 78x77cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory Numbe...

Summertime (Oxana's 30th Birthday) starring Radha Mitchell - 2007 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print print, based on the Polaroid. Certificate and Sig...

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...

Gas Station at Night I (Stranger than Paradise) - 1999 37x36cm, Edition of 30, Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #391. Not...

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...

Wonder Valley (29 Palms, CA) Installation by Stefanie Schneider. Dimensions: 250x400cm Video by Camille Waldorf. Song written & performed by Camille Waldorf. Text, song and video i...

Renée's Dream XV (Days of Heaven) - 2006 Part of the 29 Palms, CA project. Edition of 10, 50x50cm, Archival C-Print, based on the Polaroid. Signature label and certificate. Art...

Haley and the Bird Man (Haley and the Birds) - 2013 from the 29 Palms, CA Project 4 pieces 70x90cm installed, 30x40cm each. Edition of 10 plus 2 Artist Proofs,. 4 archival C-Prin...

Suburbia II - 2004 40x40cm, Edition of 10, Archival C-Print based on the Polaroid, Not mounted. Signature label and Certificate. Artist Inventory No. 20955.01. This project "S...

Blurry and Hot (Sidewinder) - 2005 128x125cm, Edition of 5, analog C-Print, hand-printed by the artist on Fuji Crystal Archive paper, based on the Polaroid, Certificate and Signat...