Svet Popel Coumou je dvodimenzionalen. Ploščat kot palačinka. Tovrstna izjava bi sicer lahko zvenela malce nevljudno, če, prvič, to ne bi bilo res, in, drugič, če ne bi morali priznati, da se njen svet ne zdi ploščat, saj Popel Coumou obvlada pravila perspektive skoraj do popolnosti. Dovolite mi, da pojasnim. Popel Coumou (1978) fotografira interierje. Gre za ploščate interierje ali, bolje rečeno, za kompozicije, ki šele pozneje postanejo interierji; interierje, ustvarjene na listu papirja skupaj s koščki papirja ali lepenke, redoljubno izrezanimi in prilepljenimi, ali z delci 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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