Llewellyn Berry
Llewellyn Berry is a visual media artist, who works primarily in photography and digital imaging, and has recently completed a three year photographic study of Calder’s Two Discs at the Hirshhorn Museum in Washington, DC. Berry’s concentrated study has led to a vibrant new set of images, incorporating color saturation and image layering to create a new vocabulary for him to use, after a career in monochrome photography. Berry began his professional career as a teacher in DC Public Schools more than 40 years ago, by teaching photography in The Literary Arts Program. While teaching Creative Photography, he founded The Urban Journalism Workshop with a grant from the Hattie M. Strong Foundation. This became the Media component to the Literary Arts and Media Program. The program moved from a rented three-story townhouse in downtown Washington, DC to the Lemuel Penn Career Development Center, then to the Duke Ellington School of the Arts as the Literary and Media Arts Department. In retirement, he continues his work as a photographic artist and teaches photography at the Friendship Heights Village Center in Chevy Chase, Maryland. Berry also makes time to curate art exhibits at Friendship Gallery. He is the Founder and principle artist of the Kindalew Gallery and founded Kindalew Collective, an artists’ collective comprised of his photography students whose work merits promotion and exhibition. Berry’s current photographic focus is an ongoing landscape study of Middle River, MD and creating an amalgam of abstract expressionist images based on his three-year study of the Alexander Calder sculpture, Two Discs, that sits in front of the Hirshhorn Museum on the National Mall in Washington, DC. These images are formed by layering photographic interpretations of Calder’s Two Discs, sculpture along with hardscape and softscape images. For his Calder portfolio, Berry spent the last 6 years photographing, crafting, printing and working to turn the original black and white photographic interpretations into color-infused, multiple-shaped and multiple-textured conundrums of artistic controversy. These images are crafted and printed with results that have a traditional painting integrity, but continue to validate the photographic medium as vibrant, significant, and consistent with his 50+ years of fascination with the photographic image and the process of capturing, editing, and producing it.
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