Work David Benjamin Sherry

in series paradise fire, sherry presented works without signature overlaid color of previous landscapes, opting natural appearance of scene, , depicting interaction of humans , environment.

perhaps turn kind of “straight” photography stems realization landscape indelibly bears traces of human presence, ruinous, , presence deleterious enough puncture possibility of autonomy posited adams , other photographers of yesteryear. adams avoided photographing people on trails next him , maintained fantasy of natural preserve spent later years defending form of social service. in sherry’s photographs, people appear, taking selfies in meadows or throwing bridges, tethered bungee cords. in swingarm city aka caineville, utah, june 2015, film crews work amid props , green-screen ramp. more elegantly, in might potent rejoinder adams , tradition represents, sherry shows yosemite’s el capitán dotted climbers— specks on enormous rock. in new body of work, sherry seems veer toward sort of humanism personal enough incorporate identity capacious enough allow possibility of exceeding it, works offering world that, enough, none of inhabit.

sherry represented salon 94 in new york city , moran bondaroff in los angeles. has published 3 books of photographs, first, titled s time in 2009 damiani, second book titled quantum light released in 2012 damiani , salon 94 , third, titled earth changes released in 2015 mörel books. work held in permanent collections @ wexner center of arts, columbus, oh; los angeles county museum of art, los angeles, ca; , saatchi collection, london, uk.