The photographs in Thomas Dozol’s current show at Tif Sigfrids gallery in New York seem to quiver and pulse on the walls, with a sense of movement suggested but left to the imagination. The eight new works follow from a new multiple-exposure process for Dozol, whose focus in the past has included photo prints that fuse different kinds of portraiture with overlays of geometric abstraction and graphic design. Born in Martinique, educated in Paris, and now based in New York and Berlin, Dozol first exhibited work of the new kind earlier this year at Tif Sigfrids’s location in Athens, Georgia; for the current show in Chinatown, he highlighted works with an increasing sense of dynamism and new intensities of color.

This is a newish mode of work for you. How did you get started on it?

It started during lockdown, when I was revisiting older shoots because I couldn’t see anyone. I wanted to work against the idea of editing a shoot down to one photo, to the decisive moment. Because of the way I shoot, I always felt there was a limitation to that that could be frustrating. I follow the people I shoot, and there’s an exchange—it’s not like trying to grab the essence of someone, or controlling someone. I always wanted to find a way to use multiple images, so I started experimenting when I was in lockdown in Athens, Georgia. Then I started shooting this series properly when I went back to Berlin. Since it was Covid time, it felt very different sharing space with people. In the past I had been shooting people in my studio and erasing the background. But I wanted to do the opposite by going into other people’s spaces. There was a real charge to that.

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