Cimetière Pere Lachaise, 2021
Photography : silver print, black & white edition · 40 x 40 x 1 cm 15.7 x 15.7 x 0.4 inch
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Verified Reviews : 9.6/10
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About the artwork
Type
Photography : numbered and limited to 12 copies
Condition
Artwork sold in perfect condition, not framed
Authenticity
Sold with certificate of Authenticity from the artist
Invoice from the gallery
Signature
Signed artwork
Technique & Support
Dimensions ( cm • inch )
40 x 40 x 1 cm 15.7 x 15.7 x 0.4 inch Height x Width x Depth
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Art gallery
Credentials
Vetted seller since 2021
Description
Double Bets.
Using a film camera is always a gamble. We think we know what we took, but in the end it's often something else, sometimes for the better, sometimes on the flop. Doing superimpositions brings the uncertainty rate up several notches because it is not known how the two images will get along on the film. At the start there is the idea of playing with instantaneous memory to mix two impressions, two black and white graphics belonging to the same place. As if we were trying to concretize a snapshot of photo fiction that our imagination would have created from scratch. For me, this delirium contains a creative magic with possibilities as infinite as they are fascinating, especially in an urban landscape as rich as Paris. When the still wet film comes out of the tank, the adrenaline is at its peak because that's where we will know if the imaginary has met the real. Nothing else can give you that feeling of having achieved something where everything could have escaped you. The sensuality of the film in addition.
Using a film camera is always a gamble. We think we know what we took, but in the end it's often something else, sometimes for the better, sometimes on the flop. Doing superimpositions brings the uncertainty rate up several notches because it is not known how the two images will get along on the film. At the start there is the idea of playing with instantaneous memory to mix two impressions, two black and white graphics belonging to the same place. As if we were trying to concretize a snapshot of photo fiction that our imagination would have created from scratch. For me, this delirium contains a creative magic with possibilities as infinite as they are fascinating, especially in an urban landscape as rich as Paris. When the still wet film comes out of the tank, the adrenaline is at its peak because that's where we will know if the imaginary has met the real. Nothing else can give you that feeling of having achieved something where everything could have escaped you. The sensuality of the film in addition.
Presentation
After a degree in mathematics, in 1974 Paul Khayat left for a trip around the world that would last 3 years.
On his return, he worked as a printer in the laboratory of the Sipa then Sygma agencies, which he left to try his luck as a photographer.
In 1984, after six years of photo reporting (freelance, Imapress and Angeli agencies) he moved on to writing and worked as a journalist in several magazines devoted to photography (Photo Reporter, Photo Magazine, Photographies Magazine and finally Photo for 9 years ).
Then, from 1999 to 2016, he was editor of the high-tech sections of Paris Match.
At the same time, he returned to photography and exhibited his images in Normandy and Paris as well as on Facebook and Instagram. For 6 years he has been working exclusively in film with a Rolleiflex for which he develops the films himself.
A lover of black and white and double exposure, Paul Khayat looks at Paris through the square viewfinder of his case. His timeless images of the City of Light capture its most intimate identity. Made of stone or iron, the urban landscape communicates with the sun, the night and History.
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