Edward Burtynsky Research Paper
Edward Burtynsky grew up in northern Canada surrounded by its untouched shores and natural forests. These natural wonders captivated him and continues to inspire his work today. He began his work by taking a picture of grass growing through the side of the road. Finding interest in the interaction between the natural and unnatural Burtynsky began chasing that interaction, enveloping his work, and defining it from others. Burtynsky does not however despise industry, owning one himself. Rather he wishes for us to understand what it is doing to the world around us and aims to encourage a more harmonious partnering between industry and nature through use of his photographs. Burtynsky’s work aims at making a kind of bitter-sweet beauty in the interactions
between nature and human industry, again to encourage a better utilization of the world around us. He uses lighting to achieve this bitter-sweetness as is seen in figure 1 given in the attached page. This image titled Nickel Tailings #34 highlights the polluted water against a darkened earth. This highlight creates a very inviting warmth to what we know only promises despair to any who dare partake of its tainted fluids, while the darkened earth speaks truth of the industrialist development as well as effectively framing the water against the mundane background. Although he does not loathe industry as an idea he certainly seems to be dismayed be its present practices. Such views are evident in his piece Carrara Marble Quarries #20 (Figure 2) in which the foreground, containing plant life, is illuminated. As the image recedes and the lighting dulls the greenery cuts sharply to a bare landscape, left destitute by man’s whims. Although the foreground consists primarily of foliage so too does it hold fragments of humanity, via radio towers and what appears to be a building. This fragmented humanity I believe shows a hope for us and our industries. The lighting further supports this point as it has a “stepping effect”. Although one may argue the existence of several “steps” for my purposes I will be splitting it into three, the better-known foreground, midground, and background. First as we already discussed the foreground containing the most abundance of light and life. Second the midground having a medium lighting and a medium amount of life, although striped even the stone seems to be lively and full of color. This is where we are now somewhere in the middle, a tipping point. Third, our perceivable future, is surround by dark clouds and covered in darkness. This background has been drained of all life and should we be unable to develop a foreground mentality we to shall die with the life that once stood prominent on the grayed earth set in the far mountain. Burtynsky’s photographs spark questioning of what beauty really is and if we’re willing to give it up in the pursuit of technologic and economic growth. Whether it is successful in this depends on the individual as one may argue its lightening of the subject. Regardless of one’s interpretation one question truly stands. Will we become one with nature, with the life of the foreground, or will we fade to nothing? Will we be just another gray background?
between nature and human industry, again to encourage a better utilization of the world around us. He uses lighting to achieve this bitter-sweetness as is seen in figure 1 given in the attached page. This image titled Nickel Tailings #34 highlights the polluted water against a darkened earth. This highlight creates a very inviting warmth to what we know only promises despair to any who dare partake of its tainted fluids, while the darkened earth speaks truth of the industrialist development as well as effectively framing the water against the mundane background. Although he does not loathe industry as an idea he certainly seems to be dismayed be its present practices. Such views are evident in his piece Carrara Marble Quarries #20 (Figure 2) in which the foreground, containing plant life, is illuminated. As the image recedes and the lighting dulls the greenery cuts sharply to a bare landscape, left destitute by man’s whims. Although the foreground consists primarily of foliage so too does it hold fragments of humanity, via radio towers and what appears to be a building. This fragmented humanity I believe shows a hope for us and our industries. The lighting further supports this point as it has a “stepping effect”. Although one may argue the existence of several “steps” for my purposes I will be splitting it into three, the better-known foreground, midground, and background. First as we already discussed the foreground containing the most abundance of light and life. Second the midground having a medium lighting and a medium amount of life, although striped even the stone seems to be lively and full of color. This is where we are now somewhere in the middle, a tipping point. Third, our perceivable future, is surround by dark clouds and covered in darkness. This background has been drained of all life and should we be unable to develop a foreground mentality we to shall die with the life that once stood prominent on the grayed earth set in the far mountain. Burtynsky’s photographs spark questioning of what beauty really is and if we’re willing to give it up in the pursuit of technologic and economic growth. Whether it is successful in this depends on the individual as one may argue its lightening of the subject. Regardless of one’s interpretation one question truly stands. Will we become one with nature, with the life of the foreground, or will we fade to nothing? Will we be just another gray background?