Trimper Gallery Photography
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David Burdeny-Elephant Family, Maasai Mara, Amboseli, Kenya, 2018, Printed After
By David Burdeny
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 Black and White Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
Palace Square, St Petersburg, Russia, Photography 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 Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
Sportivnaya Station, St Petersburg, Russia, Photography 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 Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
Winter Red, Catherine Palace, Pushkin, Russia, Photography 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 Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
Sokol Metro Station, Moscow, Russia, Photography 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
Early 2000s Contemporary Still-life Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Red Room, Yusopof Palace, St Petersburg, Russia, 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 Still-life Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Red Wall, Peterhof, Russia, Photography 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 Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
David Burdeny - Prospekt Mira 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 Still-life Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Komsomolskaya 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
2010s Contemporary Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
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 Still-life Photography
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 Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny-Mikhailovsky Theatre Curtain, St Petersburg, Russia, 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 Still-life Photography
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 Still-life Photography
Materials
Archival Ink, Archival Paper, Photographic Paper, Pigment, C Print, Digi...
David Burdeny- Jordan Stairs I, State Hermitage, Russia, 2015, Printed After
By David Burdeny
Located in Greenwich, CT
Title: Jordan Stairs I, State Hermitage, St Petersburg, Russia
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
Burden...
Category
2010s Contemporary Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny-Novoslobodskaya 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
2010s Contemporary Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Arbatskaya 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
2010s Contemporary Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Belorusskaya 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 Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Jordan Stairs II, State Hermitage, Russia, 2015, Printed After
By David Burdeny
Located in Greenwich, CT
Title: Jordan Stairs II, State Hermitage, St Petersburg, Russia
All available sizes & editions for each size of this photograph:
21” x 26" Edition of 7
32” x 40" Edition of 7
44” x ...
Category
21st Century and Contemporary Contemporary Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Avtovo Metro Station, St Petersburg, 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 Still-life Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
David Burdeny - Elektrozavodskaya 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 Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Kiyevsskaya Metro Station (East), Moscow, Russia, 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 Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Bedroom Desk, Havana, Cuba, Photography 2014, 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
What makes Burdeny’s Cuba series different fro...
Category
2010s Contemporary Interior Prints
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Teatro Americano, Havana, Cuba, Photography 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
What makes Burdeny’s Cuba series different fro...
Category
2010s Contemporary Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny - Record Room, Havana, Cuba, 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
What makes Burdeny’s Cuba series different fro...
Category
2010s Contemporary Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Docent II, State Hermitage, Russia, 2015, Printed After
By David Burdeny
Located in Greenwich, CT
Title: Docent II, State Hermitage, St Petersburg, Russia
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” Edi...
Category
2010s Contemporary Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Docent I, State Hermitage, Russia, 2015, Printed After
By David Burdeny
Located in Greenwich, CT
Title: Docent I, State Hermitage, St Petersburg, Russia
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” Edit...
Category
2010s Contemporary Still-life Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
David Burdeny-Amber Room, Catherine Palace, Pushkin, 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 Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, C Prin...
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 Still-life Photography
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 Color Photography
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 Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Cava Bianco VII, 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 Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
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 Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
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 Color Photography
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 Color Photography
Materials
Photographic Paper, Pigment, Color, Digital, Pigment, Digital Pigment
David Burdeny - Interior Restoration Havana, Cuba, 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 Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Drawing Room, 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 Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
David Burdeny - Old Havana (Horse), Havana, Cuba, 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 Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
David Burdeny - Wall with Birdcage, Havana, Cuba, 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 Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, C Pr...
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 Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Gimnasio de Boxeo, Havana, Cuba, 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 Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
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 Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Villa Farnese, 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
While ...
Category
2010s Contemporary Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Tenuta Berroni, Racconigi, Italy, Photograpy 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 Color Photography
Materials
Photographic Paper, Digital, Pigment
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 Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
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 Color Photography
Materials
Photographic Paper, 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 Color Photography
Materials
Paper, Archival Ink, Archival Paper, Photographic Paper, Pigment, Digita...
David Burdeny - Library, Parma, 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 Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
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 Color Photography
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 Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Reggia di Venaria Reale, Torino, 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 Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
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 Color Photography
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 Color Photography
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 Color Photography
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 Color Photography
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 Color Photography
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 Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Palazzo Ducall, Mantova, 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 Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
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 Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
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 Color Photography
Materials
Paper, Digital Pigment, Archival Pigment, Pigment, Digital, Pigment, Pho...
David Burdeny - Ballet School, 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 Color Photography
Materials
Digital Pigment, Paper, Archival Pigment, Pigment, Inkjet, Digital, Pigm...
