Leaving Town (Sidewinder) - part of the 29 Palms, CA project - 2005
Each size Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label.
Artist Inventory No. 3460.
Not mounted.
"private history turned into an intimate mythology of elemental fantasies where reality is perceived through a veil of psychedelic memories and unconscious projections. such is a collection of passions and dreams, an uncanny diary of ephemeral narratives and mental intensities in Stefanie Schneider’s painterly photographs where subjectivity of an ontological doubt uses a poetics of pastische as a vehicle for an intertextual journey towards the truth and the authenticity of primary emotions. here time is immersed in a nostalgic suspense of oneiric dimension, a sort of ambiguous coma of silence and comfort, and open space embraces a psychotic landscape of solitude and accidental pleasure. fetishized surface of extreme feelings gives a stage for an unsolicited promise of unconditional love and unlimited freedom, a promise framed by sensual tension between fulfillment and expectation."
- Adam Budak, Kusthaus Graz, 2005
Sidewinder
There’s blood on the dress that hangs in the Airstream trailer outside 29 palms. With the pistol in her sweat palm touching his temple. Tell me what god’s gonna do for me and you know Stevie’s saying while Brother John Baptiste looks there across to where her cat seems weak and fed. All the good that comes to me from my believing man, I wanna hear about it said to me like that. Just the way you breathed it like you did 10 minutes ago when I was wrapped so well around your head. Silence then. A baby screams his mother out in the desert night who wakes so late. Orion is a belt John Baptiste looks at through the torn-screen trailer window. There, touching his calf are vipers crawling now across her feet between his knees in front of her he kneeling for his life and they are full of venom with their broken fangs. A gun at head, where even his breath, so short, is preaching. He’s in a wheat field. John Baptiste. Counting birds on telephone wires hung low in the afternoon where his mother’s call cannot now reach him. There she stands a weeping willow with the sidewinder underneath the trailer step a drop of blood upon her ankle with the bullet through its head. A scar follows sweat palm to wrist. Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California 16 years ago but who’s counting 6 bullets for the barrel wait beside the temple. The long white shaft of tissue hemmed together gods tattoo along her ribs, hip to breast. She wants to fuck the preacher in her trailer with his bible on the alter front row Stevie asks forgiveness holy father from the car that shook her bones apart. John Baptiste asks to pray before she leads his temple head. For twenty minutes darkness hides the accidents in trailer shade her childish screams a preacher underneath her shimmer blue bled dress. The prayers he said beside the bed with mother for relatives with tumors, brand new bicycles, and rain. Stevie takes the whisky in her mouth to wash him out the sidewinder skids across her wounded foot of scars. John Baptiste asks the Lord to heal her in the new day that is breaking mouth of whisky spits it laughing father forgive the trigger finger for the viper he gives thanks And takes the barrel toward his lips through mumbling supplication kiss it Brother Stevie offers, please, but doesn’t wait him there. Copper penny Sunday School upon the tongue. And closed his eyes. A blur of her and mother. Other bodies. Women, gently crushing spirits. Prayers. His han under her weight in grams. The fingernail fang and fucks it. So slid the pull of metal out As god can answer. And into her mouth then. Settles. And wet the metal. He touches her, his finger. Viper like. And fuck it sore. Believers. Repentant whore forgiven preacher leaving town in that old ragtop down and left a rag dress bleeding in the Airstream soft, again.
(JD Rudometkin)
- Materials
- Archival C-Print, based on a Polaroid
- Size
- 30 7/10 × 29 9/10 in | 78 × 76 × 0.1 cm
- Rarity
- Medium
- New
- Signature
- Hand-signed by artist, sticker label, Certificate and Signature label.
- Certificate of authenticity
- Included (issued by authorized authenticating body)
- Frame
- Not included
- Series
- 29 PALMS, CA is a feature film / art piece that explores and chronicles the dreams and fantasies of a group of individuals who live in a trailer community in the Californian desert. The world depicted in the film is inspired by the photographs of German artist Stefanie Schneider in that it combines the notions of reality and fantasy and explores the resonance of both within a desert landscape and a transient culture. The characters depicted in the film, (an actress, a singer, a DJ, a motel owner and his wife, an US army soldier, a mystic, a princess, a recluse, a movie ticket seller, two hitchhikers, a doctor, a director, etc.), are played by both actors and non-actors. The story is constructed through the interpretation of real life communications (i.e. phone calls, emails, conversations) that have taken place as the individuals depicted in the story try to make sense of events that have occurred in real life. In this sense the story is, in part, a biography and social commentary, and the characters are the exaggerated alter egos of the individuals who play them.
- Publisher
- published by the artist
Leaving Town (Sidewinder) - part of the 29 Palms, CA project, 2005
Leaving Town (Sidewinder) - part of the 29 Palms, CA project - 2005
Each size Edition of 10, plus 2 Artist Proofs.
Archival C-Print, based on a Polaroid.
Certificate and Signature label.
Artist Inventory No. 3460.
Not mounted.
"private history turned into an intimate mythology of elemental fantasies where reality is perceived through a veil of psychedelic memories and unconscious projections. such is a collection of passions and dreams, an uncanny diary of ephemeral narratives and mental intensities in Stefanie Schneider’s painterly photographs where subjectivity of an ontological doubt uses a poetics of pastische as a vehicle for an intertextual journey towards the truth and the authenticity of primary emotions. here time is immersed in a nostalgic suspense of oneiric dimension, a sort of ambiguous coma of silence and comfort, and open space embraces a psychotic landscape of solitude and accidental pleasure. fetishized surface of extreme feelings gives a stage for an unsolicited promise of unconditional love and unlimited freedom, a promise framed by sensual tension between fulfillment and expectation."
- Adam Budak, Kusthaus Graz, 2005
Sidewinder
There’s blood on the dress that hangs in the Airstream trailer outside 29 palms. With the pistol in her sweat palm touching his temple. Tell me what god’s gonna do for me and you know Stevie’s saying while Brother John Baptiste looks there across to where her cat seems weak and fed. All the good that comes to me from my believing man, I wanna hear about it said to me like that. Just the way you breathed it like you did 10 minutes ago when I was wrapped so well around your head. Silence then. A baby screams his mother out in the desert night who wakes so late. Orion is a belt John Baptiste looks at through the torn-screen trailer window. There, touching his calf are vipers crawling now across her feet between his knees in front of her he kneeling for his life and they are full of venom with their broken fangs. A gun at head, where even his breath, so short, is preaching. He’s in a wheat field. John Baptiste. Counting birds on telephone wires hung low in the afternoon where his mother’s call cannot now reach him. There she stands a weeping willow with the sidewinder underneath the trailer step a drop of blood upon her ankle with the bullet through its head. A scar follows sweat palm to wrist. Torn Stevie. Scars from the weapon to her toes an accidental act of God her father said. On Vaness at California 16 years ago but who’s counting 6 bullets for the barrel wait beside the temple. The long white shaft of tissue hemmed together gods tattoo along her ribs, hip to breast. She wants to fuck the preacher in her trailer with his bible on the alter front row Stevie asks forgiveness holy father from the car that shook her bones apart. John Baptiste asks to pray before she leads his temple head. For twenty minutes darkness hides the accidents in trailer shade her childish screams a preacher underneath her shimmer blue bled dress. The prayers he said beside the bed with mother for relatives with tumors, brand new bicycles, and rain. Stevie takes the whisky in her mouth to wash him out the sidewinder skids across her wounded foot of scars. John Baptiste asks the Lord to heal her in the new day that is breaking mouth of whisky spits it laughing father forgive the trigger finger for the viper he gives thanks And takes the barrel toward his lips through mumbling supplication kiss it Brother Stevie offers, please, but doesn’t wait him there. Copper penny Sunday School upon the tongue. And closed his eyes. A blur of her and mother. Other bodies. Women, gently crushing spirits. Prayers. His han under her weight in grams. The fingernail fang and fucks it. So slid the pull of metal out As god can answer. And into her mouth then. Settles. And wet the metal. He touches her, his finger. Viper like. And fuck it sore. Believers. Repentant whore forgiven preacher leaving town in that old ragtop down and left a rag dress bleeding in the Airstream soft, again.
(JD Rudometkin)
- Materials
- Archival C-Print, based on a Polaroid
- Size
- 30 7/10 × 29 9/10 in | 78 × 76 × 0.1 cm
- Rarity
- Medium
- New
- Signature
- Hand-signed by artist, sticker label, Certificate and Signature label.
- Certificate of authenticity
- Included (issued by authorized authenticating body)
- Frame
- Not included
- Series
- 29 PALMS, CA is a feature film / art piece that explores and chronicles the dreams and fantasies of a group of individuals who live in a trailer community in the Californian desert. The world depicted in the film is inspired by the photographs of German artist Stefanie Schneider in that it combines the notions of reality and fantasy and explores the resonance of both within a desert landscape and a transient culture. The characters depicted in the film, (an actress, a singer, a DJ, a motel owner and his wife, an US army soldier, a mystic, a princess, a recluse, a movie ticket seller, two hitchhikers, a doctor, a director, etc.), are played by both actors and non-actors. The story is constructed through the interpretation of real life communications (i.e. phone calls, emails, conversations) that have taken place as the individuals depicted in the story try to make sense of events that have occurred in real life. In this sense the story is, in part, a biography and social commentary, and the characters are the exaggerated alter egos of the individuals who play them.
- Publisher
- published by the artist
