This series, shot on a quiet Monday along Brighton’s seafront, invites you to pause and take notice.
The Monday Triptych explores the interplay of form, space, and restraint. It focuses not on the spectacular, but on the usually overlooked elements that make up our surroundings. These three black and white photographs present structures that have become part of the background shelters, remnants, concrete slabs rendered as subjects worthy of a second glance.
What unites these images is not just their location, but their perspective. Each image isolates a manmade form in open space, resulting in sparse, deliberate, and silent compositions. There are no people or narrative prompts; instead, the emphasis is on geometry: lines, surfaces, and voids. These scenes await without performance, unassuming yet marked by a subtle tension between structure and emptiness.
My approach is observational. The photographs aren’t posed or altered; they are the result of seeing rather than staging. This work reflects a practice rooted in stillness, looking not for drama but for a kind of visual discipline images that hold their shape through balance and restraint.
In black and white, detail becomes definition. Tonal range replaces colour, and shadows and textures are foregrounded. The absence of distraction allows the viewer to notice what’s usually peripheral: the lean of a roof, the break in a line, the weight of open space.
These aren’t nostalgic images, though their subjects may appear weathered or familiar. They don’t long for the past or idealise the present. Instead, they offer a moment of visual clarity a suggestion that looking, carefully and without urgency, still has value.
The Monday Triptych is not about telling a story; it’s about paying attention to what’s already there.
By David Levine
About David