ELLES X PARIS PHOTO - SARA IMLOUL 

GALERIE 127

“I don’t feel concerned by a so-called gendered perspective.”

“La chaise”, Passages, Sara Imloul / Courtesy Galery 127

How did you become a photographer? Would you define yourself as one?

Childhood, images from the cinema, theatre costumes, ghosts, the magic of light: all this brought me to photography. Yes, I define myself as a photographer.

What drives you as a photographer?

I don’t use digital technology in photography: I work slowly using older techniques. It’s not really a drive but rather what I love doing.

Do you think there is such a thing as a ‘woman’s gaze’ in photography? Is this something you can relate to?

I don’t know whether there is a woman’s perspective in photography, but I certainly wouldn’t feel concerned by a so-called gendered perspective.

Has being a women influenced your work as an artist in any way? 

Certainly, and conversely.

Do you make a living from your art?

With the year we’ve just had, it’s been very difficult.

Which authors have inspired you? Are there any women photographers among them?

I’m inspired by the fashion photographers of the 1920s, the surrealists, Sergei Parajanov, Kertesz, Patti Smith, Frida Kahlo, Sally Mann, Niki de Saint-Phalle, Georgia O’Keeffe, Louise Bourgeois, and so many others.

Mon coeur, Autoportrait © Sara Imloul / Courtesy Galery 127

BIO


French photographer Sara Imloul (born in 1986), began her first series entitled Le Cirque Noir (the black circus) in 2008 using calotype (an early photographic technique by which prints are produced from a paper negative). Ever since, she has continued to experiment with different techniques to produce a dreamlike world. Imloul also uses video (T.R.E.S.E.D, 2013). Some of her work is more introspective and intimate (Das Schloss, 2014), and is inspired by interior design (Passage de l’Ombre aux Images, 2019). Imloul won the Prix Levallois 2019 and her work has been exhibited in France (Paris, Arles, Nantes and Saint-Tropez) and abroad (Madrid and Marrakech). In 2013, she published her first monograph ‘Négatifs’, followed by Das Schloss (The Castle), published by Éditions Filigranes in 2015.

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