New York

Peter Downsbrough explored the temporal dimension of photography through visual sequences – diptychs, triptychs and editorial series – that evoke the passage of time and spatial displacement, approaching by analogy the language of cinema. The artist builds a kind of photographic montage which, unlike the cinematic montage, is not based on a continuous flow of images, but on intervals and discontinuities: each shot represents a temporal jump and a change of position, inviting the viewer to mentally reconstruct what occurs between the images.