Artista

Stefanie Schneider

Alemania

Datos generales
Sin Algoritmo AI

Residencia:

Reside en Los Angeles, California, Estados Unidos

Etiquetas:

Fotografía

Descripción del Artista

The Personal World of Stefanie Schneider by Mark Gisbourne Projection is a form of apparition that is characteristic of our human nature, for what we imagine almost invariably transcends the reality of what we live. And, an apparition, as the word suggests, is quite literally “an appearing,” for what we appear to imagine is largely shaped by the imagination of its appearance. If this sounds tautological then so be it. But the work of Stefanie Schneider is almost invariably about chance and apparition. And, it is through the means of photography, the most appari- tional of image based media, that her pictorial narratives or photo-novels are generated. Indeed, traditional photography (as distinct from new digital technology) is literally an “awaiting” for an appearance to take place, in line with the imagined image as executed in the camera and later devel- oped ... in the darkroom. The fact that Schneider uses out of date /main/selected_content/texttimageindex1b.jpgPolaroid film stock to take her photographs only intensifies the sense of their apparitional contents when they are realized. The stability comes only at such time when the images are re-shot and developed in the studio, and thereby fixed or ar- rested temporarily in space and time. The unpredictable and at times unstable film she adopts for her works also creates a sense of chance within the outcome that can be imagined or potentially en- visaged by the artist Schneider. But this chance manifestation is a loosely controlled, or, better called ex- istential sense of chance, that which becomes predisposed by the imme- diate circumstances of her life and the project she is undertaking at the time. Hence the choices she makes are largely open ended choices, driv- en by a personal nature and disposition allowing for a second appearing of things, whose eventual outcome remains undefined. And, it is the alli- ance of the chance-directed material apparition of Polaroid film, in turn explicitly allied to the experiences of her personal life circumstances, that provokes the potential to create Stefanie Schneider’s open ended narra- tives. Therefore they are stories based on a degenerate set of conditions that are both material and human, with an inherent pessimism and a feel- ing for the sense of sublime ridicule being seemingly exposed. This in turn echoes and doubles the meaning of the verb “to expose.” To expose being embedded in the technical photographic process, just as much as it is in the narrative contents of Schneider’s photo-novel exposés. The form- er being the unstable point of departure, and the latter being the uncer- tain ends or meanings that are generated through the photographs’ doubled exposure.