Day Worker (American Depression) - 1999

Edition 3/10,
66x60cm, including white 'Polaroid' frame.
Analog C-Print, hand-printed by the artist, mounted on Aluminum with matte UV-Protection, based on the Polaroid.
Artist inventory Number 282.03.
Signed on back with Certificate.

A German View of the American West

The works of Stefanie Schneider evoke Ed Ruscha's obsession with the American experience, the richness of Georgia O'Keefe's deserts and the loneliness of Edward Hopper's haunting paintings. So how exactly did this German photographer become one of the most important artists of the American narrative of the 20th and 21st century?

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 planes and deserts of Southern California, where she photographs her subjects. In Berlin, Schneider develops and enlarges her works by hand. What is initially most striking about Schneider's images is simply the color of her expired Polaroids but her role in preserving the use of Polaroid film is one aspect of her work that has gained great respect from her contemporaries and the critics, as her work came about during a time when the Polaroid, a symbol of American photography, was on the road to extinction.

This theme of preservation and deterioration is a core part of Schneider's oeuvre. In an interview in October 2014 with Artnet, the artist explained how her own experiences of pain and loss inspire her. ''My work resembles my life: Love, lost and unrequited, leaves its mark in our lives as a senseless pain that has no place in the present.''

Schneider's subjects are often featured in apocalyptic settings: desert planes, trailer parks, oilfields, run-down motels and empty beaches, alone, or if not, not connected with one another. ''It is the tangible experience of ''absence'' that has inspired my work,'' explained Schneider.

Schneider’s work is unique and thus immediately recognizable. Unmistakably ‘wabi-sabi’ in appearance and content. Dreamlike, colorful with depth and vision. From start to finish, a truly self-made artist with a distinctively female perspective. In fact, the first to use expired instant film in fine art photography. Schneider's Polaroid film was bought, stored and used only for when its best performance was expected. The sets, costumes and concepts are all constructed and friends are invited to 'play' in the dreams she wants to conjure. A large format negative is made of the choice shots to enlarge the image to its optimum size and finally handprint an analog edition in Schneider's self-built darkroom / dreamlab. Ready for mounting and hanging.

(Barnebys UK, May 3, 2017)