Monday, 3 September 2012


The photograph once a mechanically driven process determined like mathematical equation where shutter speeds, exposure and focal points replace digits. Now, the photography has become a distinctive visual, grappling with emotional output as much as the algebraic set-up.

David Benjamin Sherry represents a logical romantic. Neither guarding nor reverent, Sherry’s work is of reality, though the hypnotic zenith of the end result could prove otherwise. Through his chromatic compositions, the rhythmic ambience of his landscape works proffer powerful semitones. Sherry is not concerned with mimesis, the final glorious spectacle of his images are contained within a strict system.  His utilitarian romanticism is assured in his use of analogue photography and with his colours cast at exposure or during printing ensure an illumination of reality. Sherry’s powerful collection of natural landscapes (exhibited at the Saatchi Gallery) satisfy the mind with soporific yet elegant elation. These delicate ratios of hue highlight Sherry’s continual, natural love affair that instinctively builds upon Sherry’s work as both grand and prevailing yet intimate and self-reflective.

Delving into his hypnotic unconscious, there lies a unique tension between eroticism, surrealism and even perversion. However, this potent sense of fantasy is balanced by his unique and traditional hand-made approach to image making. His controlled crafting of reality is not to abrogate tradition but to enliven the imagination and perspective through considered magnificence. With Sherry’s limitless landscapes in fluoro aqua, watered scarlet and other dimensional concoctions, his images embody the severity and beauty of reality in a spark of ecstasy.     

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Image Source: [All Matterings of Mind Equal One violet 2011] & [Hyperborealis 2009] 

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