The "Atlas of Echoes" exhibition presented at the MEP allows us to dream without leaving the conscious world.
Sarah Van Rij, a Dutch artist born in 1990, now divides her time between Paris and Amsterdam. The rhythm of urban life provides her with visual reference points strongly influenced by the habits of the contemporary world. A self-taught photographer working with collage and montage techniques, she possesses a unique and aesthetically pleasing vision.
Sarah van Rij's photographs are constructed alongside a poetic message reinforced by a shadow, a human presence, a reflection, a detail, a particular geometry… Casting a sensitive gaze upon her surroundings, she manages to capture the invisible. Her brief encounters with strangers allow her to create new scenes, new realms of possibility. She projects her reveries onto the encounters she has throughout the day, however unexpected they may be: a forgotten cup at a café, a cigarette that burns a little too brightly, a shoe that leaves a mark, a hand in action, a flickering light…
Driven by a visceral spontaneity, Sarah Van Rij doesn't limit herself to simply wandering through cities. She creates collages from her images to tell another story, one that appeals to reverie and imagination and goes beyond a simple photograph. Through this "recycling," she highlights a practice rarely observed in the world of photography: while most strive for a sharp, perfect image, Sarah Van Rij sometimes uses her iPhone without shame or any pursuit of perfectionism.
Sarah Van Rij's identity is defined by her relevant framing, unexpected perspective, impersonal subject matter, and disconcerting timelessness. Her images are constructed entirely using contemporary tools within a distinctly urban setting. By adhering to no particular style—portrait, landscape, collage, blur—the photographer maintains freedom in her practice. Chance plays a role, as they say, and Sarah knows how to make this chance interesting. She also manages to transform it into a cinematic scene that invites only complete contemplation.
From her short, unexpected stories, she raises a question: what do we see when we become aware of the gestures of others? It's a way of paying attention to our surroundings and engaging our imagination, because with a simple glance and by recycling our own observations, we can distort reality and tell our own stories. All it takes is observing, experimenting, and imagining.
