Prime Time

Pauline Perplexe, Arcueil, FR.

Curator: Guilhem Monceaux

2023

Prime Time seems to be about the time we are able to perceive what is unfolding in both color and in black and white. It is not the best or the worst time. It is all the combined elements that make this moment possible and what happens in between the beginning and the end of this moment. All the time it took for Sophie to wait, follow the beam of light for hours, bouncing on a wall, on a shell chain, piercing through a glass bottle, warming up a column patterned fabric. Taking notes in between, a finger raised above the shutter, ready to close that parenthesis. It is also – I think – very much about the tools used to capture that present time. If a photograph is the most commonly used metaphor for this action – I could say it is also a snapshot or a cliché and then I would still be talking about photography – here it goes hand in hand with writing. As in her Italian diary*, Sophie T. Lvoff’s notes can be read as alternative images that carry a different texture and complexity, and this time it’s in the artist’s studio.

-Guilhem Monceaux

In The Prime Times, Volume I & II, Sophie T. Lvoff dramatizes her daily studio practice.

Through haiku poems, reappropriated headlines, doodles and photographs of her studio still lifes pierced by mid-afternoon daylight, the newspaper chronicles the torpor of long workdays mixed with waiting, glimpses, and glances.

While waiting for “prime time”, Sophie hesitantly reads the news on her phone and lazily reads her collection of books, writes emails to far-away friends and sometimes to herself. She notes things in notebooks and writes jokes and poems, stretches, eats snacks, doubts herself, smokes, glances around, until the precise moment when the picture has to be taken.

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