Juxtapoz Magazine - The Waves: David Benjamin Sherry @ Huxley-Parlour, London

"Sherry's ethos of preservation is reflected in his choice of medium. The series is made using both medium and large-format cameras, and developed in the darkroom using traditional film techniques. Employing these analogue technologies in an era of increasing digital manipulation, Sherry seeks to both preserve and reanimate photography's traditions. His methods situate his practice in the history of landscape photography, following the work of Ansel Adams, Carlton Watkins and other documentarians of the American West."

"His methods situate his practice in the history of landscape photography, following the work of Ansel Adams, Carlton Watkins and other documentarians of the American West. However, Sherry does not simply look to replicate the environments which he photographs; in rendering his images in vivid hues - deep fuschias, cool greens and warm yellows - Sherry's work takes on an expressive quality. The icebergs and glaciers that he depicts are transformed, by Sherry's darkroom interventions, into otherworldly forms."

"For Sherry, colour can act as a memory or an evocation of feeling. The act of photographing and being immersed in the natural world is a deeply personal, spiritual, and meditative one. In the process, the artist aims to understand humanity's place in the environment, and the responsibility that comes with it. As a queer artist operating within a genre steeped in masculine traditions, Sherry's work generates new narratives and understandings of identity an"

David Benjamin Sherry presents eight large-scale analogue photographs of Antarctica that combine traditional darkroom processes with vivid colour interventions. The work uses medium and large-format cameras and film development techniques to preserve and reanimate photographic traditions while engaging environmental change and conservation. The images render icebergs and glaciers in deep fuschias, cool greens and warm yellows, transforming landscapes into otherworldly forms. Colour functions as memory and evocation of feeling, and the practice is described as personal, spiritual and meditative. Operating within landscape photography’s masculine traditions, the work also generates new queer narratives and understandings of identity.

Read at Juxtapoz