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Stefanie Schneider
Hush, Little Baby, Don t Say a Word (Heather s Dream) diptych - Polaroid

2013

$900
£679.92
€779.72
CA$1,255.78
A$1,366.67
CHF 724.47
MX$16,442.11
NOK 9,188.63
SEK 8,406.95
DKK 5,825.08

About the Item

Hush, Little Baby, Don't Say a Word (Heather's Dream), diptych - 2013 part of "The Girl Behind the White Picket Fence" starring Udo Kier and Heather Megan Christie 40x75cm including white borders. Edition of 10 plus 2 Artist Proofs. Archival C-Print, based on the 2 original Polaroids. Certificate and Signature label. Artist Inventory No. 14858. Not mounted. Born in Germany in 1968, photographer Schneider divides her time between Berlin and Los Angeles. Her process begins in the American West, in locations such as the plains and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider creates a negative from the Polaroid she shot in California and then enlarges her editions/works by hand. Offered is a piece from the movie: The Girl Behind the White Picket Fence A tale told with blemished and expired Polaroid film about the hopes and dreams of a newly orphaned girl after losing her parents who lived in the Californian desert in a vintage Spartan travel trailer. -filmed with Polaroid film stock and Super-8 footage, overlaid with poetic voice-over monoloque - this feature film creates a dynamic kaleidoscope of words and pictures, a dreamy tale that channels Terrence Malick, Gus Van Sant, and pages torn from a lonely girl's journal (Palms Springs life magazine / Carolyn Ryder) Stefanie Schneider lives and works in the high desert of Southern California where her scintillating situations take place in the American West. Situated on the verge of an elusive super-reality, her photographic sequences provide the ambiance for loosely woven storylines and a cast of phantasmic characters. Schneider works with the chemical mutations of expired polaroid film stock. Chemical explosions of color spreading across the surfaces undermine the photograph's commitment to reality and induce her characters into trance-like dreamscapes. Like flickering sequences of old road movies Schneider's images seem to evaporate before conclusions can be made - their ephemeral reality manifesting in subtle gestures and mysterious motives. Schneider's images refuse to succumb to reality, they keep alive the confusions of dream, desire, fact, and fiction.

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