Paris 2022, Pont Bir-Hakim, 2022
Photography : silver print, black & white edition · 30 x 30 cm 11.8 x 11.8 inch · Ready to hang
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Verified Reviews : 9.6/10
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About the artwork
Type
Photography : numbered and limited to 10 copies
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Signed artwork
Technique & Support
Dimensions ( cm • inch )
30 x 30 cm 11.8 x 11.8 inch Height x Width x Depth
Artwork dimensions including frame
40 x 40 cm 15.7 x 15.7 inch
Sold by
Art gallery
Credentials
Vetted seller since 2021
Description
Paris Double
Using a film camera is always a gamble. We think we know what we have, but in the end it is often something else, sometimes better sometimes on the flop. Making overprints shows the uncertainty rate of several notches because we do not know how the two images will work on the film. Initially there is the idea of playing with instant memory to mix two impressions, two black and white graphics belonging to the same place. As if we were trying to make a snapshot of photo fiction that our imagination had created from scratch. For me, this delirium contains a creative magic with infinite possibilities and fascinating especially in an urban landscape as rich as Paris. When the film still wet comes out of the tank adrenaline is at its maximum because that’s where we will know if the imaginary has met the real. Nothing else can give you that sense of success where everything could be lost. The sensuality of the film is added.
Using a film camera is always a gamble. We think we know what we have, but in the end it is often something else, sometimes better sometimes on the flop. Making overprints shows the uncertainty rate of several notches because we do not know how the two images will work on the film. Initially there is the idea of playing with instant memory to mix two impressions, two black and white graphics belonging to the same place. As if we were trying to make a snapshot of photo fiction that our imagination had created from scratch. For me, this delirium contains a creative magic with infinite possibilities and fascinating especially in an urban landscape as rich as Paris. When the film still wet comes out of the tank adrenaline is at its maximum because that’s where we will know if the imaginary has met the real. Nothing else can give you that sense of success where everything could be lost. The sensuality of the film is added.
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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