Peter Horvath is a video, sound, photo-based and new media artist. Embracing digital technologies at the birth of the Web, he creates narratives through selective editing of film footage and his early collages. His new work uses a similar approach with a focus on deconstructing and recontextualizing imagery through collage, drawing from mid-20th Century advertising images in found publications and the Internet. He uses juxtaposition and scale combined with saturated colour to produce surreal, hypnogogic and sometimes humorous re-workings.

Horvath's work is included in permanent collections internationally, including a new addition in 2016 to the Whitney Museum of American Art. He is the recipient of commissions from at The New Museum, NYC (2005) and New Radio and Performing Arts, Boston (2004). Horvath has received numerous grants from The Canada Council for the Arts and Ontario Arts Council for his New Media work.

He has exhibited in museums and galleries globally, including the Whitney Museum Of American Art's Artport (NYC), Museo Tamayo Arte Contemporáneo (Mexico City), the Musée national des beaux-arts du Québec (Québec City, Canada) and FILE Electronic Language International Festival (Sao Paulo, Brazil).


My web-based and multi-channel video works concentrate on issues of identity, and psychic and emotional relations. I am interested in creating works that are linear in format but fractured in storytelling, culminating in video based narratives that are atmospheric investigations into states of being. I develop fragmented plotlines that weave layers of documentation - journal entries, sketches, written records, photographs, voiceover and music - into cinematic experiences, both on the web and in video installation. My video sequences are frequently suspended, disjunctive and blurred, distorting the viewers visual and emotional sense of place.

Technically, my work explores the possibilities of narration through multiple screens or pop-up windows, allowing for the reflection of numerous viewpoints simultaneously. In this manner, a story can be told from different locations and perspectives at once. Additional screens serve various purposes in my works: a second window can represent a secondary thought process, for example. Rather than a standardized cinematic structure, I feel this technique is more experiential for the viewer, and breaks down conventions of single screen representation. And instead of being didactic, the story telling becomes more complex and layered, allowing viewers to piece together the visually abstracted narrative for themselves.

I find this approach offers an experience that is truer to the method of human interpretation and perspective. By mimicking the frenetic structure of the thought process and breaking down the single screen history of cinema, I support the notion that we are multi-faceted beings by nature.