Paul’s Book began with a meeting: in 2015, Collier Schorr encountered Paul Hameline, a young French artist and model, at a New York go-see. Their connection continued in Paris, where Hameline’s family home in the Marais became the setting for a two-year photographic exchange. Schorr visited, photographed, and talked; the resulting work treats the session not as a one-way act of observation but as a social space in which photographer and model test their mutual fascinations.

The book’s subject is therefore more complex than youth as an immediately visible condition. Schorr describes youth as bound to the past—to the older body’s attempt to measure the distance it has travelled. That tension informs the images’ quiet drama. Simple movements, conversation, and varying states of undress become ways of asking how a body is seen, imagined, remembered, and desired. Hameline is not reduced to a type or an icon; the project remains attentive to the reciprocal, sometimes uncertain encounter between his presence and Schorr’s looking.

First appearing in part in Re Edition magazine, Paul’s Book expands that earlier story into a larger, more sustained work. Its significance lies in this movement from editorial sequence to book-length meditation: the domestic setting, repeated visits, and conversational premise allow meaning to accumulate across images rather than depend on a single decisive portrait. Published by MACK in 2019, the 144-page hardback gives the project a considered, durable form. For collectors, it is a particularly focused example of Schorr’s interest in the relationship between identity, performance, memory, and the camera—an intimate collaboration whose revelations emerge through restraint rather than spectacle.