Edward Burtynsky is a Canadian photographer, who has spent 40 + years documenting the impacts of humans on nature.
Burtynsky wrote “[we] come from nature.…There is an importance to [having] a certain reverence for what nature is because we are connected to it… If we destroy nature, we destroy ourselves.” His work has always looked more specifically at residual landscapes, those impacted by the activity of humans and he seeks to explore how nature is transformed through industry. He often employs elevated perspectives and people also do not feature in his photographs, but rather the aftermath of their actions. Mines, quarries, water, air, agriculture, oil fields and refineries have all been subjects for Burtynsky, and each have left their scars on the earth as humans knowingly trade the better lives they seek for the irreparable damage they inflict on the place they live. These contradictions which rarely seem to find the delicate balance point they require are the underlying theme and source of tension in Burtynsky’s photographs.
Edward Burtynsky, Nickel Tailings, Sudbury, Ontario, 1996
He also uses a lot of elevated perspectives and employs a variety of tools from large format cameras to drones and helicopters which allows him to tell the story in a way that can not be done from the ground. His most recent work “The Anthropocene Project” has been done using a variety of media including stills, video, and virtual and augmented reality.
I find a lot of common ground with Burtynsky from a basic interest in how humans and nature interact, to the use of elevated perspectives to tell the story. Until his most recent work he has generally shown what humans have done without showing humans. There is no ambiguity in how the scars on our planet were created. His work is powerful because the viewer finds herself somewhat torn between the ugliness that is shown in an often beautifully created photograph, and we too are left with a sort of scar of collective guilt about what mankind has done. In “The Anthropocene Project” Burtynsky is much more direct in the way he shows people as essential elements in the scenes that mankind has created.
Edward Burtynsky, Dandora Landfill #34, Plastics Recycling, Nairobi, Kenya 2016
My work has a long way to go to reach the significance or quality Burtynsky has achieved and he sets a worthy bar to which to aspire. There is much to learned from looking at his work as I move forward with my project.
Edward Burtynsky. (n.d.). Retrieved November 7, 2018, from https://www.edwardburtynsky.com/