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MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine
MITAN - Éric Antoine

MITAN - Éric Antoine

70,00 €
MITAN - Éric Antoine
MITAN - Éric Antoine
70,00 €

Following Ensemble Seul (2015) and Useful Lies (2021), Éric Antoine unveils MITAN, the third instalment in a cycle of five books conceived as a single, long-term body of work—envisioned in its entirety as early as 2010. It is a rare undertaking, in which each publication forms part of a larger architecture. MITAN marks a point of equilibrium, where the artist’s recurring themes converge and deepen.

Deliveries start October 1st.

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Specifications Plus

30 x 24 cm, landscape
168 pages
70 photos

Contents Plus

Bringing together nearly ninety photographs created over the past five years and arranged into series, the book bears witness to a practice of extraordinary rigour, in which every image contributes to a continuum of thought, patiently developed over time. The volume is accompanied by a critical essay by art historian Pierre Wat, who illuminates from within a body of work conceived as a sensitive yet rigorous meditation on time: “MITAN tells us where he stands: halfway. It also tells us where he is: in the middle. Few words speak at once of both space and time. This one does. In it, Éric Antoine’s entire body of work is distilled..”

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Hardcover binding, anthracite cloth cover with blind-stamped title on the front cover, and custom image-processing and printing technologies.
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The volume is accompanied by a critical essay by art historian Pierre Wat, who illuminates from within a body of work conceived as a sensitive yet rigorous meditation on time: “MITANtells us where he stands: halfway. It also tells us where he is: in the middle. Few words speak at once of both space and time. This one does. In it, Éric Antoine’s entire body of work is distilled..”

ABOUT THE ARTIST

Eric Antoine

French photographer born in 1974, Éric Antoine first traveled the world before retreating to the French countryside to develop a deeply introspective body of work. Having mastered the use of large-format wet collodion on glass, he has created an artistic practice in which materiality and light take center stage. Between a perfectionist pursuit pushed to exhaustion, a quest for purity, and a meditation on time and transience, his work invites us to rediscover the world’s quiet beauty.

VIEW ARTIST PAGE

Press Reviews

★★★★★

MITAN is the third installment of a five-book cycle, conceived since 2015 as a progression from black to white. Ensemble Seul (“Alone Together,” 2015) had a black cover. Useful Lies (2021), anthracite. MITAN has a grey cover, in fabric, embossed. There will be two more, progressively lighter, through to 2035—“if all goes well,” Antoine said with quiet irony. […] Pierre Wat reads this autobiographical cycle as a body of work inseparable from a life: from where the artist lives, his age, his way of living. Eric Antoine confirms: his work does not leave his home, nor the handful of places he has frequented for years.

Eric Antoine: Everything That Is Here — Jonas Cuénin — May 2026

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★★★★★

“Like a still-life painter, Éric Antoine continues to construct an inner world in which every object, every form found in the world, is imbued with symbolic meaning. Wet-plate collodion photography allows him not only to compose these elements, but also to give each motif he captures the density and texture of a tangible thing.

There is an archaeologist’s sensitivity in the artist’s gaze: a sense of stratigraphy, a way of looking at the world that makes us feel its layers and depth, as though Time itself were embodied within it.

Organized into series, Éric Antoine’s work moves between an exploration of memory and a dreamlike journey.”

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★★★★★

“Éric Antoine uses the historic wet-plate collodion technique, a demanding and slow process that must be mastered and gradually tamed. For each photograph, he first sketches out his images in advance, whether it is a scene involving a model or a still-life arrangement composed in his studio with worn books, stones, and transparent vases.

At times, he carries his heavy large-format camera into the woods to capture the curve of a tree trunk, a body in the middle of a clearing…

Time seems to have come to a standstill in each of these images, with their deep blacks and delicate textures that appear almost fused into the glass of the collodion plates. Rare.”

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