Svijet Popel Coumou je dvodimenzionalan. Plosnat poput palačinke. Ovakva izjava mogla bi zvučati pomalo nepristojno kad, prvo, to doista ne bi bila istina, i drugo, kad ne bismo morali priznati da se njezin svijet ne čini plosnatim, budući da je Popel Coumou ovladala pravilima perspektive gotovo do savršenstva. Dopustite da pojasnim. Popel Coumou (1978.) fotografira interijere. Riječ je o plosnatim interijerima ili, bolje rečeno, o kompozicijama koje kasnije postaju interijeri; o interijerima složenim na listu papira zajedno s komadićima papira ili ljepenke, uredno izrezanim i zalijepljenim, ili s hrpicama gline.
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The world of Popel Coumou is flat. Flat as a pancake. This would sound a bit unkind, if it weren’t for the fact that a) this is really the case, and b) strangely enough it does not seem flat, since Popel Coumou has mastered the rules of perspective, almost to perfection. Let me explain. Popel Coumou (1978) photographs interiors. Flat ones that is: interiors, or rather: compositions that later on become interiors, that she made on a piece of paper, with other scraps of paper or cardboard, neatly cut and glued, or with tiny heaps of clay.
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