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| Photo © William Eggleston / Fondation Cartier |
| "I want an absence of too much prettiness... not a complete absence of it, but just like coffee, pictures can get too sweet.” |
Paris
Words by Zarina Holmes
I set out to Paris shortly after Easter break. I needed to get away from London, to re-set my mood post the heady G20 riot and surround myself with softer beauty.
So I was hoping that early spring atmosphere in Paris would do some magic to kickstart my enthusiasm again.
Upon arriving at Gare du Nord, I was greeted by my friend Vincent. He had promised the challenge of showing me an authentic view of Paris.
Without stopping to drop my luggage, I was whisked away to Fondation Cartier for William Eggleston’s Paris exhibition.
I did not read any reviews about the show prior to this. I prefer to develop my own judgement, so I always avoid them beforehand.
Eggleston’s perception of Paris is surprisingly intimate and generous. For the first time, his photographs were displayed alongside 40 of his peviously unseen sketches.
It is not a conventional vision you would expect as a tourist – Napoleonic architecture, Rive Gauche, and lovers strolling by the Seine – none of those clichés.
The images are mostly tightly framed shots, cropped almost to abstraction (I say almost – unlike Wallpaper’s cursory review – because they are not abstract) yet the spaces are familiar and recognisable.
Eggleston’s works draw your eyes to the unsung details of the city such as graffiti, immigrant street cleaners, neon light reflecting on wet pavement and banal sticker on a Chinese restaurant’s window.
He said,"I want an absence of too much prettiness... not a complete absence of it, but just like coffee, pictures can get too sweet.”
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| Photo © William Eggleston / Fondation Cartier |
| "For the rest of the long weekend, I felt like I was living in Eggleston’s Paris. The city grew on me like the rusts on his abandoned metals.” |
I know the subjects sounds like no big deal to you, but we were completely transported by the vivid images. They possess meditative quality that any urbanites can relate to.
When the grandiose of Paris melts away, you are left with Eggleston’s humble imperfections. Even that is overwhelmingly winsome and beautiful.
His intention is not to shock with reality or to be too clever with irony.
I find his interpretation of Paris endearing, which is the kind of feeling you would have towards a city you have known well.
Eggleston is considered the founding father of colour photography, who has influenced many photographers and filmmakers today. At 69, his point of view is relevant, fresh and timeless.
Vincent’s second challenge was to show me Jacques Tati’s cult film Playtime, a legendary modernist masterpiece about futuristic Paris.
I am not going to review that here, but I was impressed with the absence of close-ups (it was shot in medium format) and Tati’s idealistic vision.
Two hours of monochromatic sequences with minimal dialogue was a strong antidote to Eggleston’s colourful snapshots.
For the rest of the long weekend, I felt like I was living in Eggleston’s Paris. The city grew on me like the rusts on his abandoned metals.
Eggleston reminds us that great photography is beyond intricate storytelling – it can simply be an acceptance of quotidian (daily) beauty.
"By the time I take the picture, which is a split second,” he said, “I can almost dream that I'm anywhere."
Paris by William Eggleston is open until 21 June 2009 at Fondation Cartier pour l'art contemporain
261, boulevard Raspail 75014 Paris. http://fondation.cartier.com
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