By Jeannette Roth
There is so much to say about David Cherry and his work — the range of his talent, the recognitions and awards he's garnered, his early years as a lawyer, and oh-so-much-more. But one must start somewhere, so I'll begin with a small but insightful observation made by my husband: the man knows how to paint faces.
This may seem like a ridiculously simplistic comment, given that there is so much depth, skill, and wonder woven into everything David does. Nevertheless, I think that it captures the beginnings of what his art is all about — ordinary people caught in a web of the fantastic. He doesn't spend his time painting pictures of cute robots or fluffy unicorns. Many of his works are portrait-like; people frozen, for an instant, in time, yet with the whole of their stories poignantly reflected in the detail and expression of their countenances. David hasn't forgotten that despite the extraordinary worlds and impressive high-tech gizmos that make up the background of F & SF art, the most important element of any illustration is the human one.
Did I say illustration? Excuse me. I should have said "work of art." And yet, for David, whose work has proudly decorated the covers and interiors of many fantasy and science fiction books, the two terms are not antithetical. Take, for example, the cover done for sister C.J.'s anthology, Visible Light. Travelers bound to a distant star system lurk among the starship's cold corridors, while a window provides an even colder view of the void outside the craft's steel walls. Yet in the background of both, a warmth shines through: a robot stands in a white light nurturing a very green, very alive plant, while passengers can view the scattering brilliance of a nearby star. One of the travelers flashes a knowing smile at the viewer (could it be the author herself? Absolutely!). An interplay of shadows and highlights provides a depth and mood that makes one imagine he or she knows a part of the story before even beginning to read.
As for the man himself, well… I've not met him, but I'd have to say for starters that it takes some guts to give up a secure living in the legal profession for the hand-to-mouth existence every artist risks. My own knowledge ending there, I'll continue with a quote from Stanley Hainer who says in his introduction to Imagination: The Art & Technique of David A. Cherry, "…each [of David's] piece[s] reflects that combination of sensitivity and humor, intellect and imagination, which culminate in David the man and David the artist."
And I'll share with you some information from a confidential source, who delighted in relating to me a personal experience with Mr. Cherry during a trip to a museum. My friend was amazed that despite his success, David couldn't remain a cynically detached observer, viewing each work with a professional's critical eye. Instead, he was like "a kid in a candy store," running around with childlike wonder, examining each painting with infectious exhilaration. I know the feeling. I get it every time I have the opportunity to view the work of an artist know as David Cherry.
This page created by: Kevin G. Austin