Heavenly Vaults by David Stephenson

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David Stephenson was born in 1955, and studied at the University of Colorado and then the University of New Mexico, completing an MFA in 1982. He moved to Australia that same year to take up a position teaching photography at the University of Tasmania, where he completed a PhD in Fine Art in 2001. A fascination for the vast in space and time has led him to travel and photograph extensively around the world, with journeys to Europe, the Himalayas, and both the Arctic and Antarctic. His second visit to Antarctica in 1991 motivated his first exhibited work in video, which has continued to be an aspect his practice.

Stephenson’s photographs and video have been exhibited extensively internationally, including solo exhibitions at the Art Gallery of New South Wales (1993), the Australian Centre for Contemporary Art (1994), the Paisley Museum and Art Gallery, Scotland (1995), the National Gallery of Victoria, (1998), the Cleveland Museum of Art (2001), and the Tasmanian Museum and Art Gallery (2001). His work is represented in many public and private collections including the Art Gallery of New South Wales, the Art Gallery of South Australia, the Bibliotheque Nationale in Paris, the National Gallery of Australia, the National Gallery of Victoria, the Queensland Art Gallery, the Tasmanian Museum and Art Gallery, the International Museum of Photography and Film at George Eastman House, the San Francisco Museum of Modern Art, and the Metropolitan Museum of Art and the Museum of Modern Art in New York.

A meditation on the sublime has sustained David Stephenson’s artistic practice over 30 years, which has evolved through long-term, interrelated projects of inquiry. His photographs of the sublime ceilings of European sacred architecture have been published in two monographs with Princeton Architectural Press: Visions of Heaven: The Dome in European Architecture (2005) and Heavenly Vaults: From Romanesque to Gothic in European Architecture (2009, and showcased worldwide in many exhibitions.While travelling for these projects Stephenson made his first photographs of cities at night, bringing together a number of his previous interests, including the idea of the sublime, environmental concerns, and the transcendental power of light. The glowing “light city” seems the perfect emblem of so much that is both good and bad in our industrialized culture: an extraordinary example of a monumental technological sublime, where awe, beauty, and human aspiration are tinged with the horror of potential environmental catastrophe, our engine of modernity seemingly running on empty.