When Vincent Desilly entered the living room, he saw the two television screens on the wall. One settled in Netflix drug traffickers, while his counterpart, almost double size, published six large -scale perspectives in the surrounding district of Southeast Atlanta he visited. The video surveillance has traveled photographs of Céspedes de la Earth and Kudzu Invahis alleys, and also cars that pass and were inside. He felt someone cared for his security.
For his first photo book, recently titled The Trap, the French photographer captured the localities of Atlanta that the popular rap subgenre that stores the call of the volume was born. His representation of the capital of Georgia’s trap is warm, but austere. An extract of the autobiography of rapper Gucci Mane opens the book, comparing the sound of the trap with the granulated surroundings of which he was born: “He may not write the closure of the clubs because he was not in the clubs. He was in the trap,” Gucci wrote. “I looked for my music to motivate [people] to get cash and get out of it. “
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Gucci, as well as artists such as Young Jeezy, Me Gotti and T. I. , promoted the national popularity trap in the first Auges, but their roots date back to the rap teams of the 90 UGK and Outkast. Today, names like Migos, Long Run and Young Thug have classic rap synonym in themselves. What unites them to the maximum of them in combination is Atlanta, the city they come from, where the supreme queen trap.
Desraily spent two months in 2018 in the developing districts of the capital of Georgia to photograph how life is seen in the trap. A trap space is the position in which drugs are produced and sold, but it is also a community position. Supplies an enclave for the argument and the agreement; Just look at television; Or, in particular, the creation of trap music, which extracts its themes from all of the above. In this way, the trap is a paradox, which offers its population with a way of escape. It is a site where consistent artistic innovation feeds in the hope that life can be more than an endless hole of dematerialization dreams.
Between his Mamiya 7, Pentax 67 and Mamiya Rz67, the marijuana bags photographed unauthorized in the kitchen floor, in cash scattered in space tables and flakes of band clubs, men who raped in improvised recording studios and adolescents holding their weapons. Beyond the documentation of its surface details, Desaitally also explodes soft and color to distill how the trap looks. The Eastern Atlanta can be granulated and dark, but is also covered through the heat of the south, with stripes of Sungentle that are declared in bankruptcy through the Arce leaves. When heat feels in the environment of the images, it communicates through red patterns and warm colors.
Desouuly did the planned selection not the writer of the words to accompany his photography. On the other hand, he directs the electronic book with definitions of a trap (in the direction of objects), a trap space and cheating music, so that, as he says, his mother can identify the link between the three. Its resolution was also informed through its history and their delight, or rather its absence, in the neighborhoods that helped the music of births of births. “I’m French, 30 years old and white,” he says. “So, I can’t be an ambassador or why I saw what I saw there. ” Desaitally under pressure that the photographs deserve to have their own voice.
“Everything is raw material. A little like music, in a way. “
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