PAUL ROMANS
‘SUBVERSIVE CODE’

These photographs were made inside a quiet disaster. With incremental force, a viral disruptor infected the territories of the social and political, established new rules of engagement while exposing ideological obsessions and catastrophic structural failures.

The work is concerned with temporality and psychological space: stillness and trauma. It tries to locate these properties in the myopic observations of elastic time. Looking for affects where it can find them, within the visceral stimuli and in-between states of the ordinary and without recourse to narrativisation.

Blanchot writes that the disaster is not an event that arrives but is rather an imminence which at the same time has (always) already passed. The disaster consequently forces an interrogation of our relationship to space and time as well as to the body.

My practice focuses on contemporary social phenomena in urban environments. It is in dialogue with the category of documentary photography and is informed by ontologies of assemblage, affect and trauma.

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