We view Lynn Davis’s Iceberg series as an important category in the history of photography. An important series alone in the fact that she traveled and documented this region in the artistic and historic sense. With the changing landscape of ice melting, her images may become highly unique. Her series and editions are very small with this series being an edition of 10.

As well, her aesthetic in capturing them runs the gamut in composition and we were particularly drawn to this composition for the abstract nature of the composition. Instead of an iceberg with the setting of an expanse of water and sky, we are intimate with the architecture of the iceberg. And our eye is directed to the small crevice in the center which almost poses a question to the viewer. Metaphorically it asks us where we are going and what is beyond? As well in the physical sense it makes us feel the weight of this monstrous iceberg sitting atop and emphasizes its portent and its majesty. She has also made this image soft. Utilizing the technique of a silver print, it allows her to explore a range within the grey tones. Not emphasizing the stark white of the iceberg or creating contrast, she is also reminding us of the friendly nature of snow and ice which is that of this ephemeral matter that can melt and dissipate. As well, the minimalist composition makes this a meditative work, reduced down to intimated shape, form and nuance.

We feel this a great image and one which as time goes by, will take on further importance and endearment. With environmental changes throughout the globe, it brings subject like this to forefront.

Viewed together with the rest of the Iceberg Series, this image becomes a memory of process: ice formed over time, subjected to climate forces, and released into a still moment where light itself becomes sculpture. It is a reminder of fragility and resilience—the earth’s deep time refracted through a single, bejeweled fragment of ice.

Lynn Davis is an American photographer best known for her large-scale black-and-white images of monumental landscapes, particularly the icebergs of Greenland. Over the course of her career, she has developed a distinctive visual language marked by clarity, precision, and a reverence for form. Her photographs often explore themes of scale, timelessness, and the sublime, presenting natural and architectural subjects with a quiet, meditative intensity.

Davis studied at the San Francisco Art Institute and later worked closely with photographer Minor White, whose emphasis on spirituality and perception had a lasting influence on her approach. Early in her career, she photographed the American social landscape, but by the late 1970s her focus shifted toward more formal and elemental subjects. This transition led to her celebrated series of Arctic icebergs—massive, sculptural forms rendered with exquisite tonal range and detail. In these works, Davis isolates her subjects against stark horizons, transforming them into seemingly eternal presences suspended between abstraction and representation.

In addition to Greenland, Davis has photographed classical ruins in Italy and Greece, desert landscapes in the American West, and other remote environments. Across these varied subjects, her work consistently emphasizes structure, light, and the transformative power of scale. Her prints are often monumental in size, reinforcing the physical and emotional impact of the scenes she depicts.

Davis’s photographs are held in major museum collections and have been widely exhibited, securing her reputation as one of the leading contemporary photographers of landscape and form.