DECONSTRUCTIVISM, 2015

About the narrative potential of images.

WABI-SABI, 2014

Wabi-Sabi represents a comprehensive Japanese world view or aesthetic centered on the acceptance of tran- sience and imperfection. The aesthetic is sometimes described as one of beauty that is “imperfect, impermanent, and incomplete”. (Koren, Leonard) “If an object or expression can bring about, within us, a sense of serene melancholy and a spiritual longing, then that object could be said to be wabi-sabi.” (Juniper, Andrew) “Wabi-sabi nurtures all that is authentic by acknowledging three simple realities: nothing lasts, nothing is finished, and nothing is perfect.” (Powell, Richard R.)

OILFIELDS, 2004

Oilfields
connotes both the notion of the frontier and the adventurous mentality of the West, and a kind of horizontal understanding of landscape that is so quintessential about the West. While it circumscribes the West's idiosyncratic historical and physical manifestations, it also stands for a concept that is slowly fading into the past as a new era emerges.

FROZEN, 2001

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.

(Sabine Dorothée Lehner in Flash Art, May / June 2002. p.138)

FAIRYTALES, 2006


fairy /media/FAIRYTAL_LAUT.jpg  //  noun ( pl. fairies)
1. a small imaginary being of human form that has magical powers, esp. a female one.
adjective  //  belonging to, resembling, or associated with fairies : fairy gold.
fairy tale (also fairy story)  //  noun
a children's story about magical and imaginary beings and lands. •  [as adj. ] denoting something regarded as resembling a fairy story in being magical, idealized, or extremely happy : a fairy-tale romance.

MEMORIES OF GREEN, 2003

SUBURBIA, 2004


Suburbs > collectively, or the people who live in them

Suburb { a district, especially a residential one, on the edge of a city or large town }

synonyms [ Outer edge , Fringes, Periphery, Limits, Outer reaches, Environs ]

PAST THE DECISIVE MOMENT, 2004

WINTERWALD, 2004

THE LAST PICTURE SHOW, 2005

BEACHSHOOT, 2005

QUICKSAND, 2010

NOT IMPOSSIBLE, 2011-2012
 

Do you believe in love at first sight?
I do - ever since I saw Stefanie Schneider's artwork in a gallery in Hamburg, Germany a few years ago. Never before have images drawn me so immediately, affected me so profoundly, nor kept me so relent- lessly under their spell. Never before have I sensed such a harmonious, quiet and yet mutually nourishing relationship between an artist and the medium which occupies the central position in my life, my work and my mind: Polaroid film.

“Doc” Florian Kaps, Founder Impossible / Polanoid

 

In 2008 “Doc” bought the last Polaroid factory on earth which was about to be demantled and started producing the “Impossible” Instant analog film, that works with Polaroid cameras. In 2010 the first Impossible film was released. Subsequent films have been produced and Stefanie Schneider tested them from the beginning. Here is the first selection.