[…]

As far as I am concerned, the first impact of the message that these photos transmit is her deep inspiration, but an inspiration that is limpid, without limiting complexities. As a further qualification their came to mind the term “innocence”, in the sense of clarity, of spiritual honesty, even and above all when they are scattered over with a hazy light that is not dusty, as one would expect in these regions. I hesitated to pronounce the word “innocence”, however, not knowing how Lynn would interpret it. But then I did not hesitate to congratulate myself when I read in the September 26th New York Times an article about the works by Lynn Davis exhibited at the Hirschl and Adler Modern gallery in Manhattan. Among the favourable expressions used about the photographer was the phrase “refreshing simplicity” which seems to me to successfully express the same concept.

[…]

And so, with her particular and peculiar photographic art, with the proportions and the filtrations of light of

her photos, Lynn Davis makes us see what she herself sees and, above all, how she sees. And thirdly, and perhaps most importantly, what she does not see but that exists all the same, covered in silence, awaiting a gaze that knows how to see. Just as with the imposing mass of her icebergs supported by the blue and green waters of the Arctic Ocean.

And these photographic creations by Lynn Davis, despite my having warned of the temptation to see her

art in a lyrical-romantic manner, are they not perhaps in the widest sense – and I will say it without hesitation – “poetry”? Not, of course, in the sense of rhyming couplets, but of beauty, feeling: a concrete work of art.

Carlo de Franchis
Verona, 8 December 1991