[Puenter's] visual themes are linked to old photographs, photos showing only 'postcard' views. By remaining faithful to the original composition of the image, and by using tones of green and blue in order to suggest the atmosphere of tinted photos, Puenter recreates the same landscapes previously portrayed but — aware as he is how architecture has swallowed up nature, and not vice-versa — he leaves out the buildings and re-establishes a purist perception of the habitat. The outcome is silent panoramas, lonely horizons in which the human dimension disappears or at least is hidden (the mirroring waters of a lake might, however, at times reveal the reflection of some urban settlement that has been otherwise removed by the computer). For Puenter this is neither about recreating an earthly Eden nor about a new Arcadia. On the contrary the artist refuses any allusions to ancient times by setting side by side past and present, nature and artifice, in a circular manner and in order to arrive at a maximum of landscape 'revisionism'.
Alberto Zanchetta. Excerpt from Florio Puenter - Landscapes, Studio La Citta, Verona.
Photographers have an advantage. They can rearrange life for a moment or two. They can make visible what's on their minds while the rest of us are stuck inside our heads. Schmidt's photographs refashion the world that life's cycle has already remade for her. She stages images of a woman (the photographer, for she is her own model) at home, with children, as well as inside other people's homes and imagined lives. She wanders away from home for a day in search of the freedom to leave home for anywhere, anytime that came with an earlier part of the cycle, when she was single.
The story in Home Stills, about a woman imagining other homes and an earlier life with its freedoms, is a story that extends too many women's lives. Maintaining a private face, a kind of physical anonymity in the cause of widening the reference, is nonetheless an anomaly in an era when millions of faces (and bodies) are unveiled on the Web every day and ordinary folk scramble to achieve their fifteen minutes of fame in one visual medium or another.
Vicki Goldberg. Excerpt from A Woman's Place, Artes Magazine.