Digital Landscape Photography
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Style: Contemporary
Artist: David Burdeny
Medium: Digital
David Burdeny - One Room Schoolhouse, Saskatchewan, CA, 2020, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Church on a Hill, Saskatchewan, CA, 2020, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Barn with Hoarfrost, Saskatchewan, CA, 2020, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny-Elephant Mother and Calf, Maasai Mara, Kenya, 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Church In Snow, Saskatchewan, CA, 2020, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - One Love, Serengeti, Africa, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
12" x 20" Edition of 8
22” x 34" Edition of 8
32” x 48” Edition of 10
This project Before Ever After was less about...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
Winter Red, Catherine Palace, Pushkin, Russia, Photography 2015, Printed After
Located in Greenwich, CT
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
Burdeny’s Russia imag...
Category
2010s Contemporary Digital Landscape Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Solace, Amboseli, Kenya, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Elephant on the Horizon, Amboseli, Kenya, 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Gimnasio de Boxeo, Havana, Cuba, 2014, Printed After
Located in Greenwich, CT
Pigment Print
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
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny- 12 Giraffes, Maasai Mara, Kenya, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Zebra Plains, Maasai Mara, Kenya, 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Blue Ponds 02, Shark Bay, Western Australia, 2015, Printed After
Located in Greenwich, CT
Pigment Print
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 te...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Elephants Crossing Dusty Plain, Amboseli, 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Paradise, Maasai Mara Kenya, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny-Lioness and Four Cubs Rivers Edge Maasai Mara, 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
27” x 48" Edition of 7
37” x 66" Edition of 10
48” x 85” Edition of 5
This project Before Ever After was less about ...
Category
21st Century and Contemporary Contemporary Digital Landscape Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Cava Bianco VII, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
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...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Rialto Bridge, Venice, Italy, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 13" Edition of 15
21” x 21" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Early 2000s Contemporary Digital Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Old Havana (Horse), Havana, Cuba, 2014, Printed After
Located in Greenwich, CT
Pigment Print
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
What makes Burdeny’s Cuba serie...
Category
2010s Contemporary Digital Landscape Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
Palace Square, St Petersburg, Russia, Photography 2015, Printed After
Located in Greenwich, CT
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
Burdeny’s Russia imag...
Category
2010s Contemporary Digital Landscape Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Photosynthetic 2, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Red Wall, Peterhof, Russia, Photography 2015, Printed After
Located in Greenwich, CT
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
Burdeny’s Russia imag...
Category
2010s Contemporary Digital Landscape Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
David Burdeny - Parralex, Great Salt Lake, UT, Photography 2017, Printed After
Located in Greenwich, CT
Pigment Print
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 te...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Cava Bianco VI, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
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...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Cava Bianco II, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
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...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 06, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Blue Quadrilateral , Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
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 te...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Photosynthetic 1, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Polignano A Mare (mid-day) Bari, Italy, 2016, Printed After
Located in Greenwich, CT
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
While the spaces them...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Cava Bianco V, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
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...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Diamond Saw, Micelangelo Quary, Carrera IT, 2018, Printed After
Located in Greenwich, CT
Pigment Print
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...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Torii Gate, Koyasan, Japan, Photography 2012, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Cava Bianco III, Carrara, IT, Photography 2018, Printed After
Located in Greenwich, CT
Pigment Print
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...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 11, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Tangents 2, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - River Loire, Blois, France, Photography 2009, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 15
21” x 26" Edition of 7
32” x 40” Edition of 7
44" x 55" Edition of 7
While the spaces themse...
Category
Early 2000s Contemporary Digital Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Pont Royal, Paris, France, Photography 2012, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
13” x 16" Edition of 4
21” x 26" Edition of 4
32” x 40” Edition of 7
44" x 55" Edition of 10
While the spaces themse...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Nets Study 5, China, Photography 2017, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Saltern Study 05, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 04, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 07, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
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 te...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 02, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
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 te...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Chlorine Plant, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
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 te...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Red Canal, Great Salt Lake, UT, Photography 2017, Printed After
Located in Greenwich, CT
Pigment Print
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 te...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Berm Break, Great Salt Lake, UT, Photography 2017, Printed After
Located in Greenwich, CT
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 tension between u...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Tokyo Tower, Tokyo, Japan, Photography 2010, Printed After
Located in Greenwich, CT
Pigment Print
Additional Sizes:
13" x 16" - Edition of 15
21" x 26" - Edition of 7
32" x 40" - Edition of 7
44" x 55" - Edition of 7
David Burdeny (b. 1968. Winnipeg, Canada) gradua...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 08, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 01, Great Salt Lake, UT, 2015, Printed After
Located in Greenwich, CT
Pigment Print
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 te...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Halogens 1, Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
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 te...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Digital, Pigment, Digital Pigment
David Burdeny - Spiral Jetty 1 Great Salt Lake, UT, 2017, Printed After
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59” x 59” Edition of 5
The tens...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Tokoname Harbour, Japan, Photography 2009, Printed After
Located in Greenwich, CT
Pigment Print
Additional Sizes:
13" x 16" - Edition of 15
21" x 26" - Edition of 7
32" x 40" - Edition of 7
44" x 55" - Edition of 7
David Burdeny (b. 1968. Winnipeg, Canada) gradua...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment, Digital Pigment
David Burdeny - Red Leaves, Paris, France, Photography 2018, Printed After
Located in Greenwich, CT
All available sizes & editions for each size of this photograph:
21” x 21" Edition of 7
32” x 32" Edition of 7
44” x 44” Edition of 10
59" x 59" Edition of 5
While the spaces themse...
Category
2010s Contemporary Digital Landscape Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Torii, Lake Biwa, Japan, Photography 2009, Printed After
Located in Greenwich, CT
Pigment Print
Additional Sizes:
13" x 16" - Edition of 15
21" x 26" - Edition of 7
32" x 40" - Edition of 7
44" x 55" - Edition of 7
David Burdeny (b. 1968. Winnipeg, Canada) gradua...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment, Digital Pigment
David Burdeny - Hashigui-iwa Rock, Japan, Photography 2017, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Tatesuna, Kamigamo-jinja, Kyoto, Japan, 2012, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Veld 17, Noordoostpolder, The Netherlands, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - (Veld 5) Tulips 01, Noordoostpolder, Netherlands, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Tiger Stripes, China, Photography 2017, Printed After
Located in Greenwich, CT
David Burdeny (b. 1968. Winnipeg, Canada) graduated with a Masters in Architecture and Interior Design and spent the early part of his career practicing in his field before establish...
Category
2010s Contemporary Digital Landscape Photography
Materials
Photographic Paper, Digital, Pigment
Digital landscape photography for sale on 1stDibs.
Find a wide variety of authentic Digital landscape photography available on 1stDibs. While artists have worked in this medium across a range of time periods, art made with this material during the 21st Century is especially popular. If you’re looking to add landscape photography created with this material to introduce a provocative pop of color and texture to an otherwise neutral space in your home, the works available on 1stDibs include elements of blue, purple, green, orange and other colors. There are many well-known artists whose body of work includes ceramic sculptures. Popular artists on 1stDibs associated with pieces like this include Gerald Berghammer, David Burdeny, David Drebin, and Sally Davies. Frequently made by artists working in the Contemporary, Modern, all of these pieces for sale are unique and many will draw the attention of guests in your home. Not every interior allows for large Digital landscape photography, so small editions measuring 0.4 inches across are also available
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