About the “Village” collection
“From the very beginning of his career, Bertinsky has been moving in the delicate balance between humans and the environment. This is evident in the collection of photographs he calls the “village.” The title of this collection is reminiscent of the images of the first self-sufficient immigrants of the nineteenth century. In the “village” complex, the exact geographical location, whether in British Columbia, Alberta, Montana, or upstream New York, does not really matter, because the basic principles are the same in all of these places: small houses and dotted side buildings scattered across the almost empty plain. “What these images have in common is the simple interaction that takes place between humans and the earth.”
About the “Railroad Sections” Collection
“Even in choosing the title of this collection of photographs, Bertinsky tells us that his photographs do not conform to the aesthetic instructions of the previous railroad images. The title of railway sections evokes a sense of direct physical contact with the ground. In these images, the exploding boulders fill most of the frame, and when we look at these dense scenes from the railroad tracks one after the other, they are strangely suffocated and even instill fear of a narrow, dark space. “Compared to the in-depth perspective of the work of photographers working for Canada’s Pacific Rail in the 19th century, Bertinsky’s vision is closed and challenging.”
The artist’s remarks about “early scenes”
I think photography is a great medium to grow and mature with, because the more you photograph, the more you know about the world and the more you understand your religion than your predecessors in art, the more you can make an impact. Use predecessors to enrich your art.
At the beginning of my talk, I paid tribute to nineteenth-century landscape photographers. I believe they have inherited an image of a new world for all of us through a camera lens. When I think of their works, what comes to mind is a vast view of a vast land. They were always looking for a high perspective, so that the foreground starts from a distance and the scene is revealed by the endless movement of the eye from the middle of the photo to infinity. “This wandering over the landscape – this very vast landscape – is, in my view, a very rich landscape and turns the space into what I think is a mythical space, an archetypal understanding of the landscape.”
The strategies that Bertinsky employs in his ever-evolving compositions are influenced by a keen desire for him, a desire for how the visual features of modernist painting can be related to color landscape photography. The most important issue for him is the attitude of abstract expressionists to the visual space as a dense field that uniformly covers the entire surface of a large composition. His emphasis on these visual preoccupations in the landscape tradition was another way of paying homage to the field and proving the close connection that his photographic action has with painting.