GHENT, BELGIUM.- The Stedelijk Museum voor Actuele Kunst presents the exhibit Focus featuring works of art made by Peter Downsbrough. The artist (b. 1940, USA) is one of those artists who, as from the end of the 60s, thoroughly changed the perception of art. He often incorporated written language into his work, which earned him the label of ‘conceptual artist’. However, his work is extremely individual and highly diversified. He uses a wide range of supports and his work includes sculptures, drawings, collages, models, photos, books, music, film and video. A book and a DVD will be published on the occasion of the exhibition.

The work of visual artist, photographer and film artist Peter Downsbrough maintains a close relationship with architecture and typography. Downsbrough's images reflect upon the past, present and possibly the future within a multitude of consequent manners of seeing. In the early sixties Peter Downsbrough interrupted his studies in architecture at the universities of Cincinnati and New York in order to work as a sculptor. After a first exhibition (New York, 1962) the artist gains international recognition a decade later. He has been exhibiting regularly in the United States and Europe since 1972. The varied work of the artist - ranging from sculpture to 'graphic design' and photography to video and film work - articulates a complex relationship with architecture and typography. Additionally it draws on the achievements of the early avant-garde (Bauhaus, De Stijl) as well as those of Minimal Art. In terms of form the work of the American artist living in Brussels consciously uses only the strictly necessary: for him line, plane, negative space (cutting away) and delimitation are essential elements for arriving at his imagery. In order to additionally emphasize the relationship of his work to the space, Downsbrough eliminates the use of colour. Content-wise Downsbrough separates himself from his influences, often joining together and erasing of various disciplines. His well-known sculptures consisting of parallel lines form a void in the landscape, bringing about a new proposition for the reading of the surroundings. Because Downsbrough uses jumbled words deliberately - in fact a successful balance between design, painting and drawing - the word in that work almost becomes an architectural expression.

The film and video work of the American-Belgian artist also concentrates on the space. In the moving image, movement obviously takes a leading role and Downsbrough explores this in relation to time. The artist also reserves a prominent place in his film and video work for urban reality, in particular the modernist grid and architecture. Without the use of staged situations he transforms everyday surroundings into an architectonic space where order and disorder are shown in the first place in an observational manner, and/or are dissected. A minimum of camera movement contributes to that reductive tactic: in black & white images the artist usually wields a fixed long shot standpoint that he occasionally intercepts with travelling or medium shots. In the second instance the artist (re)organises the space with his discrete interventions and precious camera-use: the apparent disorder gains a new layer. Moreover his videos and films compel the viewer to involvement: the rhythm enforces a subjective analysis, prompting reflection on that which is shown. In an active reading an essential and enriching dialogue between space and the objects in it is found hidden beneath the sleek layer of Downsbrough's use of form. The artist alternately touches upon a historical, critical or social discourse. At the same time Downsbrough's videos lend themselves for a second reading: in their gentle tempo and - sometimes imposing - modesty his works equally prompt contemplation.