One of these is half false, the other is half true …
When I was 18 I borrowed my dad’s old Minolta and a roll of black and white film. I took some pictures of the countryside. I still remember this one shot I took, of a small creek in a field.
20 years later and 4400 km from there, in Riyadh (Saudi Arabia), I finally picked up my own SLR to document the birth of my daughter.
Now I’ve got my own shiny website with pretty pictures on it. It’s called “Encore plus flou de près” in French because you can’t say it in English without sounding stupid.
You could think I’m being pretentious by speaking French to you, because you may think I come from Zambia or India – two countries which are also 4400 km away from Riyadh. In fact I come from Nancy, France.
The two nice things you can say about Nancy is that there is a Museum of Iron and that it rains a lot.
The second thing only becomes important to you if you happen to live in the desert. I’m a happier man for knowing that on any given vacation I will be able to bask in the greyness of the sky and inhale early morning petrichor.
My work explores the relationship between consumerist fetishism and urban spaces.
With influences as diverse as Machiavelli and Miles Davis, new insights are synthesised from both opaque and transparent discourse.
Ever since I was a child I have been fascinated by the theoretical limits of the moment. What starts out as contemplation soon becomes finessed into a carnival of greed, leaving only a sense of decadence and the unlikelihood of a new synthesis.
As temporal replicas become clarified through studious and diverse practice, the viewer is left with an insight into the inaccuracies of our era.
Everything here is © Paul Atlan. I’m happy to share or license pictures, just talk to me.