Instantdreams Abstract Photography

Horizonte - 2019 - 40x50cm, Edition of 10, plus 2 Artist Proofs. Archival Print on Canson Baryta Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mounted). ...

Gerbera (2019) Edition of 5 plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mounted). Signed on back...

Ground Water II (Journey to the Center of the Earth) - 2019 100x82cm, Edition of 10. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Ne...

Spring will come (Journey to the Center of the Earth) - 2020 60x50cm, Edition of 10. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Ne...

To Some Degree (29 Palms, CA) - 2009 including Stefanie Schneider's new monograph "A Half Forgotten Dream" signed. 192 pages, hardcover, published by Snap Collective, 2024. 20x20c...

Marrying an Apple Tree - 2020 25x20cm, Edition of 10. Giclée Print on Hahnemühle Fine Art Baryta (glossy), based on a Peel Apart Polaroid Film (not mounted). Signed on back with ...

Marrying an Apple Tree (Negative) - 2020 60x50cm, Edition of 10. Giclée Print on Hahnemühle Fine Art Baryta (glossy), based on a Peel Apart Polaroid Film (not mounted). Signed on...

Boy with Flowers - 2019 60x50cm, Edition of 10. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Peel Apart Instant Film (not mounted). Signed on back with Certificate...

Summer Games - 2018 50x60cm, Edition of 10. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Peel Apart Instant Film (not mounted). Signed on back with Certificate. ...

Wild Flowers - 2020 60x50cm, Edition of 10. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Peel Apart Instant Film (not mounted). Signed on back with Certificate. ...

A Young Bride Swinging Barefoot - 2020 60x50cm, Edition of 10. Giclée Print on Hahnemühle Fine Art Baryta, based on a Fuji Peel Apart Instant Film (not mounted). Signed on back w...

Untitled (Paradise) - 1999, 98x97cm. Edition 3/10. Archival C-Print, based on the original Polaroid. Signature label and Certificate. Artist Inventory No. 20451. Not mounted. ...

The Argument (Till Death do us Part) - 2007 60x50cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the original Polaroid. Certificate and Signature label. Arti...

Blue Sky (Zuma Beach) - 2004 50x49cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Certificate and Signature label. Artist Inventory #20432. No...

Moonscape - Planet of the Apes 03 - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signature label a...

Surface Area - Planet of the Apes 02 - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signature labe...

Day for Night - Planet of the Apes 01 - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signature lab...

Flora - Planet of the Apes 08 - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signature label and C...

Blue Space Light - Planet of the Apes 07 - 1999 58x56cm, Edition of 10 plus 2 Artist Proofs. Analog C-Print, hand-printed by the artist, based on the original Polaroid. Signature ...

Sunset Behind Layers (Deconstructivism) - 2020 20x24cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Artist Inventory 6199. Signature label and ...

Blueprint - 2019 30x48cm, Edition of 10 plus 2 Artist Proofs. Archival Print based on the original Polaroid on Hahnemühle photo rag paper. Signature label and certificate. Not mounted. Exhibition: Reclaim Photography Festival: Reclaiming Our Cultural Landscape, Black Country...

The Dreaming - 2019 Edition of 10 - 20x20 cm. Archival C-Print based on the Polaroid, not mounted. Signed on back and certificate. Clare Marie Bailey Works and Lives: UK Clare ...

Summer Interlude II (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Art...

In the witch's cave (Journey to the Center of the Earth) - 2020 60x50cm, Edition of 10 plus 2 artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on the orig...

Impact - it all began quite simply I was very happy (Wastelands) - 2003 Edition of 5, 100x100cm. Archival C-Print, based on the Polaroid. Artist inventory Number 1189.08. Mounted...

Untitled (Traintracks) - The last Picture Show - 2004 50x50cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist...

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. Ar...

Brooklyn Bridge (Stay) - 2006 Edition of 5, 100x135cm installed, each piece is 30x29cm, 12 analog C-Prints, printed by the artist on Fuji Archive Crystal Paper, matte surface, b...

Abstract - 2020 Polaroid - Unique Piece 1/1, 7.8 x 7,7cm (image area) 10.7 x 8.7 cm ( including white Polaroid frame). Artist Inv. #23481. Signed on verso. Stefanie Schneider's ...

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...

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...

Rapture (29 Palms, CA) - 2022 48x46cm, Edition of 10, plus 2 Artist Proofs. Archival Print, based on the Polaroid. Artist inventory Number 218829. Signature label and Certificate...

Midnight Sun (Life on Mars) - 2022 Edition of 10, 40x17cm, Archival C-Print. Artist inventory E020. Signature label and Certificate. Not mounted. ...

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...

Untitled (Traintracks) - The last Picture Show - 2004 50x50cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist...

Captain Nelson (29 Palms, CA) - 2007 37x49x3.5cm, Edition 1/5. Artist Inventory No 4033.01. Analog C-Print, Hand-printed by the artist, mounted on a wooden box with matte UV-Prot...

Eternity (Deconstructivism) - 2020 - about the narrative potential of images. 20x20cm, Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid, Artist Inven...

Untitled (Traintracks) - The Last Picture Show - 2004 20x20cm. Edition of 5, plus 2 Artist Proofs. Archival C-Print, based on the Polaroid. Signature label and Certificate. Arti...

Stefanie Schneider's work was used for Marc Forster's movie 'Stay', featuring Ewan McGregor, Naomi Watts and Ryan Gosling. Naomi and Ryan were both portraying artists and Stefanie Sc...

Boy at Twelve - 2019 - 40x50cm, Edition of 10, plus 2 Artist Proofs. Archival Print on Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mounted...

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

Untitled (Paradise) - 1999 50x50cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20456. Not...

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

Blue II (Deconstructivism) - 2015 - about the narrative potential of images. 40x50cm, Edition of 10, digital C-Print, based on a Polaroid, Artist Inventory 3963. Signature label...

Hallway I (Suburbia) 2004, 40x40cm, Edition of 2/5, analog C-Print based, hand-printed by the artist on Fuji Crystal Archive paper, Based on a Polaroid. Signature label with Certif...

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

Locker Room (Suburbia) 2004, 40x40cm, Edition of 1/5, analog C-Print based, hand-printed by the artist on Fuji Crystal Archive papter, matte surface in her own Color lab in Berlin ba...

Untitled (Paradise) - 1999, 20x20cm. Edition of 10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20455. No...

Digital C-Print, based on an Emulsion lift on canvas from with an Impossible PX-680 film, not mounted. 55x56cm, 2014, Edition of 7. Signed with Certificate. A piece from the 12:12mens project in 2014. The piece is a combination of two SX-70 shots and Impossible film in the background. To achieve the transparency of the SX-70 layers, the artist rubbed off the emulsion where the shots underneath should be seen. This piece will be exhibited at the Bombay Beach Biennale in the newly founded Polaroid Museum in it's permanent collection. The Museum opens its doors in March 23rd, 2019. AND in the "Instant Dreams...

Breathing II (Deconstructivism) - 2015 - about the narrative potential of images. 20x20cm, Edition of 10, Archival C-Print, based on a Polaroid, Artist Inventory 15806. Signatur...

Open your eyes - 2019 Edition of 10 plus 2 Artist Proof. Archival Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative...

Ghost Story - 2021 Archival Print based on an original Polaroid on Hahnemuhle photo rag paper. 25x20cm, Edition of 10 plus 2 Artist Proofs. Signature label and certificate. Not ...

Ghost Story - 2021 Archival Print based on an original Polaroid on Hahnemuhle photo rag paper. 25x20cm, Edition of 10 plus 2 Artist Proofs. Signature label and certificate. Not ...

Ghost Story - 2021 Archival Print based on an original Polaroid on Hahnemuhle photo rag paper. 25x20cm, Edition of 10 plus 2 Artist Proofs. Signature label and certificate. Not ...

Untitled (Paradise) - 1999, 20x20cm. 2/10, plus 2 Artist Proofs. Archival C-Print, based on a Polaroid. Signature label and Certificate. Artist Inventory No. 20459. Not mounted...

Pink red water (Once) - 2019 Edition of 10 plus 2 Artist Proof. Archival Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative...

Ghost Story - 2021 Edition of 10 plus 2 Artist Proof, 25x20cm, Digital C-Print based on an original Polaroid on Hahnemuhle photo rag paper, not mounted. Signed on back with certif...

Julius #02, 2018 [From the series 9th of April] 20x20cm, Edition of 10. Archival pigment print, based on an original Polaroid on beautiful PHOTO RAG ® ULTRA SMOOTH paper, 305gsm, 1...

Erik at Fifteen - 2019 - 20x25cm, Edition of 10, plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not m...

Farewell - 2019 - 20x25cm, Edition of 10, plus 2 Artist Proofs. Photograph printed in Canson Barita Fiber Rag 340gr, based on a reclaimed Fuji Instant Film Negative (not mounted)...