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David Burdeny
David Burdeny - Cava Bianco IV, Carrara, IT, Photography 2018, Printed After

2.856,58 €

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All available sizes editions for each size of this photograph: 21” x 26" Edition of 7 32” x 40" Edition of 7 44” x 55” Edition of 10 59” x 73.5” Edition of 5 The raw immediacy and lived experience of taking a photograph matters as much to me as how I compose the frame. It is my private personal connection to these places and the emotional or intellectual intrigue that grips me through the process that I hoperesonates in the print. I seek to capture the mood and promise, silence and solitude in that extended moment of awareness. In my earlier architectural practice and now my photography career, I'm fascinated by the opportunity to invest symbols and narrative into built form or see the metaphor in a material space. I have an abiding interest in thresholds and liminal spaces-places that seem somehow a bridge between the concrete and the ephemeral, elevated above time, hallowed. The sublime resides even in an ordinary space. And while the wondrous capabilities of the digital process permits an extraordinary level of clarity, detail and sensuality to be ingrained into an image, I like to think that there is a mystery at the heart of all my photographs, an appeal for the viewer to keep looking and see more.Salt–Plottings, Fields and ExtractsIn 1858, Gaspard-Felix Tournachon -known with a flourish as ‘Nadar’ -mounted a wet-plate camera to a giant gas-powered balloon becoming the first to take photography aerial. Jules Verne called Nadar “an Icarus with replaceable wings.” As it had been in the classical era, the spirit of the age was once more animated by the potential for height. But the noted caricaturist Honore Daumier -typically the century’s most incisive social chronicler -doubted that there was anything aesthetically beneficial to be gained from such a lofty perspective. Daumier’s famously satirical lithograph, Nadar Raising Photography to the Height of Art, was intended as a mockery of aerial photography’s artistic pretense and as a warning against its surveillance purpose. Daumier’s print shows Nadar rising high above Paris with his camera pointed down and every building below target-marked by the word “PHOTOGRAPHIE”. Already, the utility of panoptic vision was thought to trump its sublime allure or transcendental opportunity. And it would take another 50 years before this fundamentally new visual perspective would upend artistic representation of space.That tension between utilitarian purpose and artistic inspiration is the unexpectedly compelling strength of David Burdeny’s mesmerizing series of aerial abstractions called Salt. His large-format and luminously intriguing photographs of salterns occupy the hazy border zonebetween the prosaic and the poetic. In our hyper-connected age of GPS, Google maps and instant information, the instinctual reaction to these scenes might first be to determine the where and the why of them -their ground-level location or biological/environmental fact. To see first the service roads and draining ditches or to puzzle out how the chemical balance in the salt ponds creates these particular blooms of colour. Such readings serve to root vision in the commonplace and the established order -the here and now -and downgrade the sublimity in the aerial experience. But Burdeny’s Salt photographs aim to be more evocative and exalted than pedestrian. They seek to elevate our experience of the world in more ways than one.From the startof his fine art photography career -certainly aided by his earlier architectural practice -Burdeny has always had a deft appreciation for the artistic potential of pure space and how it can be purposefully structured to appeal to the senses. He has become a master of the photographic moment made in service of a sublime sensibility. His early black-and-white long-exposure work created a minimalist monumentality out of spare landscapes that felt privately spiritual and seemed to exist outside time. And thestark awesome force of the icebergs in his North/South series crackled with a similar terrifying majesty as the Romantic poets and artists of the nineteenth century regarded them. Even the docents sitting alone and attentively in the Hermitage in Burdeny’s recent Bright Future series seem to be keenly aware of the profound privilege of sensuous perception. What Salt adds to this conversation is its cunning use of the artistic heritage and sublime intrigue of abstract art to further Burdeny’s interest inliminal spaces. In their use of amorphous shapes, elongated fields of colour and vertical, jagged and sinuous lines, Burdeny’s images suggest the painterly expressiveness of Rothko, Still, Newman, Diebenkorn and late career Willem de Kooning. The effect is less intentional than it is available -Modernism’s abstracted reordering of the visual landscape (which essentially got going in pre-WWI Paris with Robert Delaunay and his aerial scenes of the Eiffel Tower) permits a non-objective reading of these compositions. But why bother? What do we gain by seeing landscape as a non-objective experience or colour as an “instrument” (as Rothko termed it) to explore subconscious emotions? In his 1948 essay, The Sublime is Now, Barnett Newman provided the essential answer -”the image we produce is the self-evident one of revelation”. And that power of personal revelation remains an active concern in contemporary art. A recent 3-year scholarly survey by the Tate revealed how actively engaged is the field of artists presenting new ways to consider the sublime and the potential for “immanent transcendence,...a transformative experience”.With Burdeny’s Salt series, once you let go of the map, you take hold of the opportunity in the work. Then the immensity of the view, theexpressive power of light and colour, and complex feelings of solitude and release take over, take flight. Burdeny manages to render into visual form the ineffable experience of drifting, of floating above it all, of being lost out beyond the humanly order of things (a clever conceit given how humans have definitely ordered these working salt fields). In some of the images -such as Saltern Study 15 -there is the sense of the transfigurative potential of expansion, a longing for the infinite. Whereas Red Water, Hut Lagoon reveals the awesome beauty of the abyss as a roiled cauldron of red. In their abstracted glory, Burdeny’s images play to the psyche and have powerful emotional force. The legend of Icarus is often told as a parable of hubris defeated butit can equally be read as a transformational text -as the triumph, however temporary, of emotion over reason. Once airborne, up and away from the regular order of life, Icarus experienced exhilaration and the ecstasy of an altered perspective. While cultural tradition duly notes that Icarus fell back to earth, perhaps we should make more of how amazing it must have been while he was up there. Fortunately, Burdeny has used his camera to give witness to the continuing resonance of such transcendental revelations This photograph will be printed once payment has been received and will ship directly from the printer the artist works with. Your certificate of authenticity will be shipped separately from your print and in most cases will ship directly from the gallery. The Gallery is more than happy to provide clients with the next available edition number, however, the Gallery can only guarantee the specific edition number the client will receive once payment has been received.

Schöpfer*in:
David Burdeny (1968, Kanadische)
Maße:
Höhe: 53,34 cm (21 in)Breite: 66,04 cm (26 in)
Weitere Editionen und Größen:
32” x 40" Edition of 7Preis: 5.713 €44” x 55” Edition of 10Preis: 6.925 €59” x 73.5” Edition of 5Preis: 14.716 €
Medium:
Archivalisches Pigment
Bewegung und Stil:
Zeitgenössisch
Zeitalter:
2010–
Zustand:
Galeriestandort:
Stamford, CT
Referenznummer:
1stDibs: LU25117384082

David Burdeny
David Burdeny - Diamantmesser, Micelangelo Quary, Carrera IT, 2018, Nachdruck

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David BurdenyDavid Burdeny - Cava Bianco IV, Carrara, IT, Photography 2018, Printed After

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