Stefanie Schneider - White Trash Beautiful II (29 Palms, CA)

Original photograph by German photographer Stefanie Schneider (*1968), artist Inventory #598.

White Trash Beautiful II (29 Palms, CA)
Edition: 2/10
PROCESS: Archival C-Print
AGE / period: 1999
DIMENSIONS: 20 x 20 cm
CONDITION: in excellent condition

from: Interview Photonews:

Marc Peschke: A few years ago, you moved entirely from Berlin to Southern California. What has happened in California since then? How do you live? And what are you working on right now?

Stefanie Schneider: In December 2019, everything in my life in Berlin changed unexpectedly. The rent on my artist studio and laboratory doubled, and the dynamics with the landlord became unbearable. It was clear the time had come to leave, and so we did—swiftly, decisively. In April 2020, I returned to Berlin to supervise the move, ensuring everything was packed carefully into two forty-foot shipping containers. As the pandemic worsened, the urgency surrounding the move heightened. It was stressful, but also strangely fitting—a moment in time that mirrored a larger, personal shift.

Leaving Berlin wasn’t simply about escaping logistical challenges. It was about retreating from a world that had become too entwined with noise, obligations, and expectations. This move was deeply reflective, and it felt almost like an act of reclamation. The move to Southern California was more than a change of scenery; it was a return to space—space to think, space to create, space to simply exist away from the relentless pace of modern life.

In this isolation, I found a quiet resonance with the work and philosophies of Joseph Beuys. He often spoke about the importance of retreating into nature, of distancing oneself from the pressures of society, and about the vital importance of solitude as a means of regeneration and transformation. Like Beuys, I withdrew from the external world—not to escape, but to connect with something deeper. The isolation was not about loneliness but about recalibrating to a more authentic rhythm of life. It was a space where I could listen, reflect, and evolve without distraction.

For the last five years, I’ve lived this way—fully removed from family, former friends, and the broader social structures that once defined my life. It hasn’t been easy, but it has allowed for a deeper connection to the land, to the animals I care for, and to my art. The land here, with its rawness, its space, and its silence, has become a kind of canvas for my personal and creative journey. The vast desert landscape mirrors the themes I explore in my work: isolation, decay, transformation, and the passage of time. In this solitude, I’ve found that my creativity can thrive, undistracted by the noise of the world.

Just as Beuys saw the connection between the self, nature, and art as essential for creative work, I too have come to understand that true art is born from a deep sense of self-reliance and connection to the natural world. In this secluded space, I’ve experienced a sort of alchemy—turning isolation into inspiration, abandonment into clarity. The long hours spent with animals, the meticulous care for them, and the reflection in solitude have shaped my practice in ways I couldn’t have anticipated.

In this quiet, self-imposed exile, I have found something transformative—a deeper understanding of the rhythms of my work and life. I am living fully immersed in this new existence, and it’s from this solitude that I continue to create, without compromise, without the constraints of societal expectations. The retreat has given me the space to explore new dimensions of my art and of myself, and it’s a journey I am still on. Five years and counting.