David Burdeny Art
Canadian, b. 1968
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 establishing himself as a photographer. Burdeny translates his intimate appreciation for the structure, details and metaphorical value of space into sublime observations on how the contemporary world is still pregnant with mystery and potential. His early work of square-format black and white images rendered space in stark, elemental terms. The spare landscapes seemed modeled to serve as liminal spaces -as thresholds and portals and points of departure that lead the viewer to a complex intimacy with the expressive force of empirical awareness. In subsequent series, Burdeny has explored both opulent and austere interior scenes that use the sensuality of colour to full effect. Whether focused on ordinary spaces or iconic settings, Burdeny's photographs occupy an artistic middle ground between the physical and the atmospheric, the concrete and the spiritual, the actual and the idealized. They represent not strictly what he found but his personal experience of these enigmatic and luminous locations.Burdeny has featured his photographic series in numerous solo and group exhibitions in Canada, the US and throughout Europe. His work has also been widely published including most recently in The Guardian, the Corriere Dela Sera and the Moscow Times.David Burdeny lives in Delta, B.C. and works from his studio in Vancouver.(Biography provided by Trimper Gallery)
to
605
63
179
437
107
61
80
49
212
11
253
Overall Height
to
Overall Width
to
551
27
6
1
104
90
63
61
45
44
32
30
25
24
22
21
20
19
18
18
17
16
15
14
605
605
6,910
3,236
2,514
1,217
576
362
345
345
344
Artist: David Burdeny
David Burdeny - Ca' Rezzonico, Venice, Italy, Photography 2012, Printed After
By David Burdeny
Located in Greenwich, CT
Pigment Print
All available sizes & editions for each size of this photograph:
13" x 16" Edition of 4
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x 55” Edition of 10
59" x 73....
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Tokyo Tower, Tokyo, Japan, Photography 2010, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Digital, Pigment, Digital Pigment
David Burdeny - Kropotkinskaya Station, Moscow Russia, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Mayakovskaya Station, Moscow, Russia, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Kiyevsskaya Station, Moscow, Russia, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Archival Ink, Archival Paper, Photographic Paper, Pigment, C Print, Digi...
David Burdeny - Aeroport Metro Station, Moscow, Russia, 2015, Printed After
By David Burdeny
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
21st Century and Contemporary Contemporary David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Cava Bianco VI, Carrara, IT, Photography 2018, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Cava Bianco II, Carrara, IT, Photography 2018, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny-Biblioteca Angelica, Rome, Italy, Photography 2016, Printed After
By David Burdeny
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
While ...
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Saltern Study 18, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Pigment, Pigment
David Burdeny - Saltern Study 06, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Blue Quadrilateral , Great Salt Lake, UT, 2017, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Photosynthetic 1, Great Salt Lake, UT, 2017, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Piano Player, Havana, Cuba, Photography 2014, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Cava Bianco V, Carrara, IT, Photography 2018, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Diamond Saw, Micelangelo Quary, Carrera IT, 2018, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Piazza del Duomo, Milano, Italy, Photography 2016, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Polignano A Mare (mid-day) Bari, Italy, 2016, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Map Room, Caprarola, Italy, Photography 2016, Printed After
By David Burdeny
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
This ...
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Torii Gate, Koyasan, Japan, Photography 2012, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Palazzo del Te, Mantua, Italy, Photography 2016, Printed After
By David Burdeny
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
While ...
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny-Galleria degli Antichi, Sabbioneta MN, Italy, 2016, Printed After
By David Burdeny
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
While ...
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Palazzo Madama, Torino, Italy, Photography 2016, Printed After
By David Burdeny
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
While ...
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Galleria, Palazzo Colonna, Rome, Italy, 2016, Printed After
By David Burdeny
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
While ...
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Cava Bianco III, Carrara, IT, Photography 2018, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Yellow Kitchen, Havana, Cuba, Photography 2014, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Saltern Study 11, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 10, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Pigment, Pigment
David Burdeny - Tangents 2, Great Salt Lake, UT, 2017, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Trompe-l’oeil Napoli, Italy, Photography 2016, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Pantheon (Interior), Rome, Italy, 2018, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Blue Bedroom, Havana, Cuba, Photography 2014, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - River Loire, Blois, France, Photography 2009, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Galleria Vittorio Emanuele II, Milan, Italy, 2016, Printed After
By David Burdeny
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
While ...
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Vestibule, Racconigi, Italy, Photography 2016, Printed After
By David Burdeny
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
While ...
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny-Reggia di Caserta, Caserta, Italy, Photography 2016, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Reggia di Caserta Theatre, Caserta, Italy, 2016, Printed After
By David Burdeny
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
While ...
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Library, Napels, Italy, Italy, Photography 2016, Printed After
By David Burdeny
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
While ...
Category
2010s Contemporary David Burdeny Art
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Pont Royal, Paris, France, Photography 2012, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Nets Study 5, China, Photography 2017, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Saltern Study 05, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 04, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 07, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 02, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Chlorine Plant, Great Salt Lake, UT, 2017, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Red Canal, Great Salt Lake, UT, Photography 2017, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Berm Break, Great Salt Lake, UT, Photography 2017, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 14, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Pigment, Pigment
David Burdeny - Saltern Study 08, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Saltern Study 03, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Pigment, Color, Pigment
David Burdeny - Saltern Study 01, Great Salt Lake, UT, 2015, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Halogens 1, Great Salt Lake, UT, 2017, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Digital, Pigment, Digital Pigment
David Burdeny - Spiral Jetty 1 Great Salt Lake, UT, 2017, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Tokoname Harbour, Japan, Photography 2009, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Digital, Pigment, Digital Pigment
David Burdeny - Red Leaves, Paris, France, Photography 2018, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - St Joseph’s, Mandalay, Burma, Photography 2011, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Digital, Pigment
David Burdeny - Torii, Lake Biwa, Japan, Photography 2009, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Digital, Pigment, Digital Pigment
David Burdeny - Tatesuna, Kamigamo-jinja, Kyoto, Japan, 2012, Printed After
By David Burdeny
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 David Burdeny Art
Materials
Photographic Paper, Digital, Pigment
David Burdeny art for sale on 1stDibs.
Find a wide variety of authentic David Burdeny art available for sale on 1stDibs. If you’re browsing the collection of art to introduce a pop of color in a neutral corner of your living room or bedroom, you can find work that includes elements of blue, red, pink and other colors. You can also browse by medium to find art by David Burdeny in pigment print, archival pigment print, paper and more. Much of the original work by this artist or collective was created during the 21st century and contemporary and is mostly associated with the contemporary style. Not every interior allows for large David Burdeny art, so small editions measuring 12 inches across are available. Customers who are interested in this artist might also find the work of David Drebin, Sally Davies, and Randal Ford. David Burdeny art prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $1,500 and tops out at $19,500, while the average work can sell for $3,300.