Lauriergracht 94, 1016 RN Amsterdam, Netherlands Tel: +31-20-6260284 E-mail
  • Info
  • Artists
  • Exhibitions
  • Books
  • Contact



- Popel Coumou



Sunshine through a dusty window can lit a room in a way that seems to accentuate it's emptiness. The soft glow and distinct shadows create a geometric relationship between the borders of the space, its colours and the world outside. When viewed as a whole the scene takes on the qualities of a graphic abstraction of visible reality. A two dimensional slice of subjective vision that represents the palpable absence of human activity.


Popel Coumou's art is inspired by this naturally occurring play of lines. She tries to simulate these lifeless but highly evocative areas by shaping her own slices of constructed space. She uses a great variety of techniquesto construct the illusion of a place. She then carefully lights this architectural collage to add the suggestion of a third dimension to the photographs she takes of these scenes. By accentuating the effects of light outside and shadows inside these spaces, she furthers both the sense of a flattened representation and the illusion of depth. The end result is an image that seems to hold the mid ground between painterly abstraction and geometric photography.


Her instantly recognisable analogue photographs of collages are gradually moving towards a higher, more abstract plane. By letting go of volume she lets light reign freely. Slowly but steadily she manages to switch background and foreground, resulting in a shimmering emptiness. An emptiness that is further explored in a new series of lightboxes, which use the changing intensity of light to continuously influence the character of the image.


Echoing steps taken by her illustrious predecessors from De Stijl, such as Mondrian and Van der Leck, she looks at the horizon as a point of orientation and abstraction. She interprets physical limits of vision as one of the origins of abstract art. Her earlier pieces mainly take place in inner spaces such as abandoned hotels and dusty hallways where the light cuts through in straight lines. During the past years, she has literally and figuratively stepped outside. Feeling confident because of a steadily developing career she searched her way through courtyards, parks and open architecture to find new subject matter for her work. She ended up on the beach, taking in the vista and slowly letting go of recognisable forms. Silhouettes of houses and brightly coloured geometric shapes were meticulously inserted in often romantic landscapes. However, the fleeting presence of man was still found in her work at this time. Now she seems to have reached a new conclusion of this line of thought; a nearly graphical interpretation of the horizon, bathing in bright white light. Humans seem to have left the image and have taken place behind the camera. The space stretching forth before the lens is an existential void constructed out of subtle gradients of colour and a minimalist play of lines. But this is just a theoretical framework. In reality these pieces remain analogue photographs of small, refined collages. Popel combines landscape photography with transparent and plain paper to create very detailed composition. These collages are then lighted from behind to let transparency suggest space and volume in a two-dimensional plane. The resulting greatly enlarged photograph has the tempered texture of a daydream.


 If you want to be kept informed about this specific artist, please fill in the contact form here with the artists name as the message. Artist's website:



Untitled, 2016 - 1  
Enlarge Untitled, 2016 - 1 More info about Popel Coumou  

Untitled, 2016 - 1


C-print on Bubont, wooden frame

130 x 87 cm / 70 x 47, 5 cm

More on Artist Popel Coumou

Untitled, 2016 - 1

Untitled, 2016 - 2

Untitled, 2016 - 3

Untitled, 2015 - 1

Untitled, 2015 - 2

Untitled, 2015 - 3

Untitled, 2015 - 4

Untitled, 2015 - 5

Untitled, 2014 - 1

Untitled, 2014 - 2