Publications & Editions

David Burdeny Traces Of Time

28 pages
6" x 9" Softcover
$10.00

Catalgue by the Jennifer Kostuik Gallery of David Burdeny's show
Traces of Time. The artist provides a brief story for each photograph in this serie.

Best know for his minimal photographs which explore the relationship between nature and our relationship with it, in this soon to be released series, Burdeny travelled thousands of kilometers along the Mediterranean and Adriatic coastline, urban waterways and back roads of Italy and France in search of that decisive moment when form light and atmosphere come together to form something remarkable.

Stephen Hutchings: Landscapes for the End of Time

160 pages
10” x 11” Hardcover
$25.00

Published through the Glenbow Museum, Calgary AB, the book provides critical essays and perspectives by: Colleen Sharpe, Curator of Art, Glenbow Museum, Petra Halkes, writer/curator/teacher/artist, Mary Reid, Director/Curator of Art Gallery of the University of Manitoba and Vincent Varga, Executive Director and CEO of the Mendel Art Gallery in Saskatchewan. Much appreciated by art collectors, the book presents an image by image play of how the artist creates his charcoal and oil works.

Included in each book is a DVD with two 8 minute art videos depicting the transformation of the images of the bush and of water, iconic symbols in Hutchings’ art and throughout time. The musical accompaniment for each vidoeo was composed and performed by Sebastian Hutchings, Stephen’s son, who is breaking ground in new operatic musical scores. The videos are now included in the permanent collection of the Glenbow Museum and the music was performed opening night of Landscapes for the End of Time.

Available through the gallery. 

Shorelines

Photographs by David Burdeny
Text by Anthony Collins

11 x 11 inch Limited Collector Edition,
includes one 8 x 8 inch print:  SOLD OUT

11 x 11 inch Trade Publication:  SOLD OUT

From the shorelines of Japan, Northern France, and the Pacific Northwest, these works present my abiding interest in the thresholds that divide and connect the sea to land. I am fascinated with the quality of light and the spatial immensity of the ocean. I have enormous reverence for feeling so small in the presence of something so vast, where perspective, scale, time and distance momentarily become intangible. Photographing as a process of clarifying this quality, I work towards creating formalized, liminal spaces. The glory lies not in this act of clarification or reduction, but in the experience of what is left - sublime experience located in ordinary space: a slowly moving sky, the sun moving across a boulders surface or sea foam swirling around a pylon. Exposed onto large-format black and white film under the light of dusk and dawn, the shutter is held open for several minutes, recording the ocean and sky as it continuously repositions itself on the negative, a process both dependent upon and vulnerable to chance. The resultant image is an accretion of past and present. Each moment is layered over the moment immediately preceding it - a single image that embodies the weight of cumulative time and unending metamorphosis. 

Excerpted from “Rewriting Nature” by Adam Gopnik, The New Yorker, Oct 23, 2006 issue