Erieta Attali : The timeless illusion
Born in Tel Aviv, Erieta Attali embodies the Mediterranean light and the mystery of ancient shadows. At the age of fifteen, moving between Athens and the Princes’ Islands, she was already destined for the art of photography. Her strides through forests, her gaze upon archaeological ruins, and her wanderings among abandoned Byzantine churches shaped her vision. The hidden cemeteries overlooking the Sea of Marmara forged her perspective, where architecture and landscape merge in silent harmony.
Initially a photographer for major archaeological institutions, she traveled across Greece, Italy, Turkey, and beyond, bringing her unique vision to the remnants of the past. However, in 1996, a pivotal encounter changed her course. Discovered by Greek theorist Yorgos Simeoforidis, she shifted her focus to contemporary architecture. This transition was cemented in 2002, following his passing. From that moment, she began to reveal architecture as a breath, a body in dialogue with nature.
For her, architecture and landscape are inseparable. She captures their synergy, a visual symphony. Like Antonio Carlos Jobim’s melody Arquitetura de Morar (architecture for living), which exalts the fusion of dwelling and life, every structure, whether ancient or modern, becomes a work in perpetual evolution. She captures what is imperceptible, what escapes the immediate gaze.
Her work is a quest for timelessness. An illusion of stillness emanates from her images, as if light itself sculpted forms and shadows, unveiling forgotten stories. Architecture is no longer a fixed construction but an ephemeral presence, a living breath merging with the landscape. Each image is a meditation on time, a silent exploration of hidden beauty.
Her oeuvre has been celebrated with prestigious awards and exhibited in galleries worldwide. In her monographs, such as Periphery | Archaeology of Light or Glass | Wood, the artist invites us to slow down, to see differently, to feel the soul of places. She has collaborated with visionary architects like Kengo Kuma and Marc Mimram, capturing the essence of their creations, where the ephemeral and the enduring meet.
For Erieta Attali, photography is a primordial quest. An art of revelation, of slowness, of observation. Her images remind us that architecture is merely a transient guest of nature, a trace left in the shifting sands of time. They invite us to see the invisible, to hear the silence of forms, and to understand that architecture, above all, is a fragile encounter between humanity and the earth.
What was your first photographic trigger?
Erieta Attali : It started at the age of 15. I was deeply inspired by jazz music, which I loved from a very young age. My mother had brought me a radio from abroad, and I would spend hours tuning into stations from all over the world. That connection to music, particularly jazz, became a profound source of inspiration for me. At that time, I lived in Istanbul, spending summers at our house on Princes’ Island. Then, when I moved to Athens, I befriended an American girl from Chicago whose family also loved jazz. They introduced me to ECM Records. One album stood out–a seascape image on the, cover with a vast ocean, a dark horizon, and a seagull soaring above. The music accompanying it was Crystal Silence by Chick Corea. The harmony between the image and sound was so moving that I decided I wanted to be a photographer.
On the other hand, I was a professional long-distance runner, often training in mountains and forests. I carried a small camera and imagined myself as a photographer. This passion grew stronger as I continued listening to ECM Records, which had a unique way of blending sound and imagery. Manfred Eicher, ECM’s founder, paid exceptional attention to visuals, and his work greatly inspired me. My first book, which won an international gold prize, is even dedicated to him. This connection between landscapes, distant places, and sound remains my greatest photographic trigger.
Who is the person of image who inspires you the most?
Erieta Attali : Manfred Eicher, the founder of ECM Records. His extraordinary ability to connect sound and image is unparalleled. Even before photography, I was drawn to documentaries, where this connection is essential. I also admire Wim Wenders for his cinematic approach.
An image you would have loved to take?
Erieta Attali : There are many. As a young photographer, I was captivated by landscapes and the works of Mimmo Jodice from Italy, Joseph Sudek, and Richard Misrach for his American West landscapes. These photographers inspired me immensely, and Mimmo Jodice even contributed to my latest book. Of course, I’ve missed opportunities too. Using large-format film photography isn’t as instantaneous as digital or smartphone photography. While I’ve always embraced the intentionality of film, there were moments I wish I could have captured.
The picture that moved you the most?
Erieta Attali : I’d say images from the movie … have deeply inspired me. But it’s more the entirety of the film’s visual language rather than a single frame.
The picture that made you angry?
Erieta Attali : I dislike overly brutal war photographs used solely to shock. When such images are overused, they can create apathy instead of action. When you see a lot you stop caring. It’s not anger as much as a sense of frustration with their impact.
Which picture changed the world?
Erieta Attali : For me, the images of the atomic bomb in Japan and Nick Ut’s photograph of the « Napalm Girl” in Vietnam stand out. These photographs are both shocking and world-changing.
What picture changed your world?
Erieta Attali : The landscapes of Joseph Sudek, Bill Brandt, and Richard Misrach profoundly influenced me. French photography has also had a lasting impact–I still have my first photography magazine from Paris. It introduced me to street photography and other styles I deeply admire.
What interests you the most in an image?
Erieta Attali : Authenticity. A genuine idea, not a reproduction of trends. It’s like design-authenticity can’t be precisely defined, but you know it when you see it.
The last image you took?
Erieta Attali : Yesterday morning, I photographed the Place des Vosges with my phone. I was struck by the majestic trees in the square and how they framed the sky. With my large-format camera, my most recent work involves a series of seascapes around the Cycladic Islands, especially near the ancient island of Delos.
What is the key image of your personal pantheon?
Erieta Attali : I don’t believe in the power of a single image. My work is conceptual and narrative, so everything is interconnected. That’s why selecting a single image for a book cover is always challenging-it’s all part of a larger puzzle.
The photographic memory from your childhood?
Erieta Attali : The first image I remember is from my baptism in a Greek monastery in the old port of Jaffa, Tel Aviv. I recall the sun, the horizon, and the wind on this day.
According to you, what is the necessary quality to be a good photographer?
Erieta Attali : Obsession. Total dedication without compromises.
What makes a good photo?
Erieta Attali : It’s subjective. What resonates deeply with me might not appeal to someone else.
The person you would like to photograph if you had the opportunity?
Erieta Attali : I don’t focus on people. I’m more drawn to landscapes and monuments. I’m a very friendly person and very social, but when I photograph people, it’s usually in long exposure or as part of a broader composition.
A must-have photo book?
Erieta Attali : There are so many. I’m a collector of rare, historic, and contemporary books. Recently, I acquired a 1919 collectible by Swiss photographer Frédéric Boissonnas. It features early photographs of Delos Island, which resonate with my current projects.
The camera of your childhood?
Erieta Attali : I had a 35mm camera that I still own, though I don’t recall the model. It’s a sentimental keepsake.
The one you use today?
Erieta Attali : For over 30 years, I’ve used a Linhof Technika with a panoramic 6×12 format.
Your favorite drug?
Erieta Attali : I love champagne.
The best way to disconnect for you?
Erieta Attali : Walking or running. In Paris, I walk 40 to 45 kilometers a day. My usual pace is 25 to 30 kilometers, but I enjoy pushing further.
Your personal relationship with the image?
Erieta Attali : I don’t keep mirrors at home, except a small one in the bathroom. I see my reflection in windows, and that’s enough. My walls are adorned with maps, tapestries, and landscapes-not mirrors. I don’t care about my image.
What would you have done if you weren’t a photographer?
Erieta Attali : Possibly political science, history, or documentary filmmaking.
If you could be photographed by a great photographer, who would it be?
Erieta Attali : I don’t have a specific name in mind, but I think I would have preferred to be photographed by street photographers. They have a unique approach that emphasizes the connection between the figure or person and their environment-whether it’s a cityscape or another setting. It’s this interplay between elements that I find intriguing, which is why I lean toward this photo’s generalistic style.
Your latest folly?
Erieta Attali : Loving someone I shouldn’t have loved.
An image to illustrate a new banknote?
Erieta Attali : The Parthenon. It symbolizes democracy, liberty, culture, and humanity.
The last thing you did for the first time?
Erieta Attali : Saying “yes” to people I usually would have said “no” to.
Any place in the world you haven’t discovered yet but want to?
Erieta Attali : I’m constantly traveling around the world, visiting places I chose to explore, and the ones I haven’t been to are simply those I haven’t felt the desire to visit yet. But I’d love to cross the Aegean Sea in winter. It’s quite tricky and dangerous but I would like to do it on a high-speed Icelandic boat. It’s part of a project to photograph the Cycladic Islands.
Your biggest regret ?
Erieta Attali : Trusting someone I shouldn’t have.
The place you’d never get tired of?
Erieta Attali : Paris.
Are you more color or black and white?
Erieta Attali : I work in monochromatic color-a blend of black-and-white aesthetics with a hint of color.
Daylight or studio light?
Erieta Attali : I prefer night photography, always outdoors.
The most photogenic city in the world?
Erieta Attali : I would say Paris in the Western world. Tokyo in Asia.
If I could organize the ideal dinner party for you, who would sit at the table ? / Your
ideal dinner party?
Erieta Attali : I’d invite everyday people I encounter in the streets-they offer perspectives that close relationships often miss. When you speak with people around, you see different layers of the life we live.I would like to have people that I don’t know much about. And l’d also invite a few historical figures.
What is missing in today’s world?
Erieta Attali : Happiness.
What would you like people to say about you after?
Erieta Attali : That I advanced the photography of architecture and the environment, inspired future generations, and left a meaningful impact.
One thing people must know about you?
Erieta Attali : I’m self-made.
A last word?
Erieta Attali : I love life.
Website : www.erietaattali.com
Instagram : @erieta_attali
Thanks to Benoit and Galerie BSL for making this interview possible. @galerie_bsl