‘It's almost unreal’: P.E.I. artist’s work displayed outside the Louvre in Paris
CBC
Not many artists can say they’ve had their paintings on display for millions to see in Paris.
But P.E.I. artist Paul Alan can.
Recently, several of his paintings were featured right outside the entrance to the world’s most-visited museum, the Louvre.
His artwork was displayed on digital screens at the Carrousel du Louvre, an underground shopping mall that also serves as an entrance to the museum in France. Millions of visitors pass through the space every year.
“It's very cool. It's almost unreal when I'm looking at it,” Alan told CBC's Mainstreet P.E.I.
Alan worked with a group that promotes artists by curating and showcasing their art around the world. The group allows artists to submit their work for consideration and, if accepted, the artwork is displayed digitally at exhibitions worldwide.
In the exhibition, Alan’s artwork is displayed on screens hanging on the walls next to other physical works of art.
“You could pack up the physical art, but by the time you ship it up and you send it there and the insurance that goes with it, it's just easier to do a digital form,” he said.
This isn’t the first time Alan’s work has been shown in a digital exhibition. Just this summer, some of his art was displayed at the Swiss Art Expo at Zurich Main Station, which is the busiest train station in Switzerland.
Alan recalled a friend who happened to be there and spotted his work on a large digital screen. The friend took a photo of himself pointing to Alan’s painting and emailed it to him.
“It’s pretty neat,” Alan said.
Alan said the main thing that drew him to exploring digital art exhibitions is the exposure they get for his work, since simply posting art online may not always get traction.
“You can go on Instagram or on Facebook or on X, but according to peoples' algorithms and what they're looking at, your stuff may or may not be seen,” he said.
International shows — even digital ones — also help build his résumé for future opportunities.
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