THERE

THERE makes explicit that every film is a sequence of still images and requires a conscious perceptual effort. Downsbrough offers a portrait of his relationship with time and space. THERE is the first of two “film‑in‑a‑film” pieces, composed of short silent color sequences shot with a fixed camera at two busy intersections in Brussels. In one splitscreen scene, the moving image, an urban street of the 2010s, progressively empties, making way for a black and white photograph of a New York street from the 1970s. This transition marks the start of a sequence of twenty‑three images taken in different urban transit spaces. The two short color films thus frame a visual reflection on time, movement and the perception of space.