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Johan Gerrits
Johan Gerrits
Johan Gerrits

Johan Gerrits

Country: Netherlands
Birth: 1962

Though we travel the world over to find the beautiful, we must carry it with us or we find it not - Ralph Waldo Emerson I was born in the east of the Netherlands, a green countryside full of nature. My interest for nature was one of the reasons to start 25 years ago with photography. Since then subjects changed from nature, architecture, art into people. Especially the last one takes a big role in my travelphotography.

Two of my great passions in life are photography and travelling. I believe that travel broadens one's view of the world, makes you more tolerant, and reflects on our way of living and thinking.

Experiencing other cultures, rituals and customs, enrichen your knowledge and deeper understanding of the world around you. By documenting these unique cultures, in which some of them are vanishing very fast. I hope that my work has a merit in preserving their beautiful and cultural diversity.

In my photography I try to reveal a person's character, his spirit, his way of showing himself to the world. In doing this I respect their culture, habits and religion as much as possible.

I'm not a professional photographer, just an amateur who likes to photograph the beauty of mankind.

Websites

www.johangerrits.com

@johan_gerrits_photography

 

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More Great Photographers To Discover

Martin Stranka
Martin Stranka
Czech
1984
Martin Stranka was born on Friday April 13, 1984 in Most, Czech Republic, where he lived with his parents and older sister until the age of three. For the next twenty years, family then moves to Litoměřice, where he attends elementary school and the Josef Jungmann Gymnasium. He went on to study economics in Prague, where he has lived and worked ever since. He never studied art, but after the loss of a close friend in 2007 he turned to photography as therapy to regain his balance in life. After completing his university studies, he worked as a human resources manager while continuing in his pursuit of photography which later became his passion. In December 2010 his passion became his profession when he accepted commissions from New York publishing houses Sterling Publishing and HarperCollins. In his seventeen-year career, Stranka won more than 90 international awards, and honorary mentions in photography, of which the most significant include Special Photographer of the Year from the International photography Awards in New York in 2022, and 1st place in the Sony World Photography Awards that he won in 2018 and 2019 in London. His works were exhibited and auctioned at Christie’s in London in early 2023. Martin Stranka exhibited his work in New York, Miami, London, Paris, Prague, and Shanghai, in galleries including Christie’s London, Saatchi Gallery, SNAP! Orlando, Somerset House in London, or the exhibition hall of Prague’s Mánes. His works already attract the attention of art collectors and can be seen on the covers of books published by HarperCollins, Sterling Publishing, and Penguin Random House. Martin has also created several photographic visuals for the National Theater, the National Theater Ballet, and the National Theater Opera. He has published four monographic books the last of which was published the retrospective book for the exhibition at the Danubiana Meulensteen Art Museum. Statement Martin wrote about his work: ''I’m always searching for beauty, but to me, the sort of beauty that is obvious seems uninteresting and empty. To the contrary, a flaw in something that is seemingly perfect adds vital meaning to the captured scene and catches my often-distracted attention. At least a small wobble of emotion to contrast the calmness of mind in a piece of art makes sense to me. As an artist, I need to strip both myself and the viewer of certainty in order to create space for the necessary multitude of questions. I look for form and content that harmonizes with people and provides them with a quiet visual refuge. At first glance, the images I capture are calm, yet under the surface, they rage and roar. I plant a sense of dismay into the same artwork, be it only with the slightest hint of something sinister lurking beneath the surface. And it never ceases to amaze me that such seemingly incompatible contrasts can be combined into one image. I constantly return to the narrative of the relationship between mankind and nature, as well as the exploration of human existence itself. Loneliness and isolation – such relevant topics today – seem to me like an endless line of poetry that I stitch through every photograph, even if only marginally. I can’t let go of the feeling that it is in isolation that I find a much-needed dialogue. A dialogue with myself, within myself, into myself. The visible silence in a photograph is contrasted by hectic thoughts that I’m unable to resist. And after all, I don’t want to defy them, I just need to accept everything as an observer. Observation and voyeurism become the best ways to learn. I repeatedly try to discover the connection between visual beauty and dramatic reality. What connects the state of oversaturation of human relationships and the state of one’s own loneliness? I need to know the answer. In my work, I continue to experiment with the portrayal of personally experienced intimacy contrasted against the more ephemeral feelings of closeness between strangers. I try to give meaning to situations and objects beyond how they are perceived. I’m driven to tear down traditional contexts, to give states and objects different meanings, and thus place ordinary experiences in extraordinary contexts. Although this process may seem complicated, to me it comes completely spontaneously every step of the way. The medium of photography allows me to materialize all these external happenings and flickering events onto paper.''
Arthur Rothstein
Arthur Rothstein
United States
1915 | † 1985
Arthur Rothstein was an American photographer. Rothstein is recognized as one of America's premier photojournalists. During a career that spanned five decades, he provoked, entertained, and informed the American people. His photographs ranged from a hometown baseball game to the drama of war, from struggling rural farmers to US Presidents. ...a photographer must be aware of and concerned about the words that accompany a picture. These words should be considered as carefully as the lighting, exposure and composition of the photograph. -- Arthur Rothstein The son of Jewish immigrants, Rothstein was born in Manhattan, New York City, and he grew up in the Bronx. He was a 1935 graduate of Columbia University, where he was a founder of the University Camera Club and photography editor of The Columbian, the undergraduate yearbook. He was a classmate of abstract painter Ad Reinhardt. Following his graduation from Columbia during the Great Depression, Rothstein was invited to Washington DC by one of his professors at Columbia, Roy Stryker. Rothstein had been Stryker's student at Columbia University in the early 1930s. In 1935, as a college senior, Rothstein prepared a set of copy photographs for a picture sourcebook on American agriculture that Stryker and another professor, Rexford Tugwell were assembling. The book was never published, but before the year was out, Tugwell, who had left Columbia to be part of FDR's New Deal brain trust, hired Stryker. Stryker hired Rothstein to set up the darkroom for Stryker's Photo Unit of the Historical Section of the Resettlement Administration (RA). Arthur Rothstein became the first photographer sent out by Roy Stryker, the head of the Photo Unit. During the next five years he shot some of the most significant photographs ever taken of rural and small-town America. He and other FSA photographers, including Esther Bubley, Marjory Collins, Marion Post Wolcott, Walker Evans, Russell Lee, Gordon Parks, Jack Delano, John Vachon, Carl Mydans, Dorothea Lange and Ben Shahn, were employed to publicize the living conditions of the rural poor in the United States. The Resettlement Administration became the Farm Security Administration (FSA) in 1937. Later, when the country geared up for World War II, the FSA became part of the Office of War Information (OWI). The photographs made during Rothstein's five-year stint with the Photo Unit form a catalog of the agency's initiatives. One of his first assignments was to document the lives of some Virginia farmers who were being evicted to make way for the Shenandoah National Park and about to be relocated by the Resettlement Administration, and subsequent trips took him to the Dust Bowl and to cattle ranches in Montana. The immediate incentive for his February 1937 assignment came from the interest generated by congressional consideration of farm tenant legislation sponsored in the Senate by John H. Bankhead II, a Democrat from Alabama with a strong interest in agriculture. Enacted in July, the Bankhead-Jones Farm Tenant Act gave the agency its new lease on life as the Farm Security Administration. The Farm Security file would never have been created if we hadn’t the freedom to photograph anything, anywhere in the United States—anything that we came across that seemed interesting, and vital. -- Arthur Rothstein On February 18, 1937, Stryker wrote Rothstein that the journalist Beverly Smith had told him about a tenant community at Gee's Bend, Alabama, and was preparing an article on tenancy for the July issue of The American Magazine, but Stryker sensed bigger possibilities, telling Rothstein, "We could do a swell story; one that Life [magazine] will grab." Stryker planned to visit Alabama and asked Rothstein to wait for him, but he was never able to make the trip, and Rothstein went to Gee's Bend alone. The residents of Gee's Bend symbolized two different things to the Resettlement Administration. On the one hand, reports about the community prepared by the agency describe the residents as isolated and primitive, people whose speech, habits, and material culture reflected an African origin and an older way of life. On the other hand, the agency's agenda for rehabilitation implied a view of the residents as the victims of slavery and the farm-tenant system on a former plantation. The two perceptions may be seen as related: if these tenants — despite their primitive culture— could benefit from training and financial assistance, their success would demonstrate the efficacy of the programs. Unlike the subjects of many Resettlement Administration and Farm Security Administration photographs, the people of Gee's Bend are not portrayed as victims. The photographs do not show the back-breaking work of cultivation and harvest, but only offer a glimpse of spring plowing. At home, the residents do not merely inhabit substandard housing but are engaged in a variety of domestic activities. The dwellings at Gee's Bend must have been as uncomfortable as the frame shacks thrown up for farm workers everywhere, but Rothstein's photographs emphasize the log cabins' picturesque qualities. This affirming image of life in Gee's Bend is reinforced by Rothstein's deliberate, balanced compositions which lend dignity to the people being pictured. There does not seem to have been a Life magazine story about Gee's Bend, but a long article ran in the New York Times Magazine of August 22, 1937. It is illustrated by eleven of Rothstein's pictures, with a text that draws heavily upon a Resettlement Administration report dated in May. The story extols the agency's regional director as intelligent and sympathetic and describes the Gee's Bend project in glowing terms. Reporter John Temple Graves II perceived the project as retaining agrarian—and African—values. In 1940, Rothstein became a staff photographer for Look magazine but left shortly thereafter to join the OWI and then the US Army as a photographer in the Signal Corps. His military assignment took him to the China-Burma-India theatre and he remained in China following his discharge from the military in 1945, working as chief photographer for the United Nations Relief and Rehabilitation Administration, documenting the Great Famine and the plight of displaced survivors of the Holocaust in the Hongkew ghetto of Shanghai. In 1947, Rothstein rejoined Look as Director of Photography. He remained at Look until 1971 when the magazine ceased publication. Rothstein joined Parade magazine in 1972 and remained there until his death. He was the author of numerous magazine articles and a staff columnist for US Camera and Modern Photography magazines and the New York Times, Rothstein wrote and published nine books. Rothstein's photographs are in permanent collections throughout the world and have appeared in numerous exhibitions. A selection of these one-man shows include shows at the International Museum of Photography at George Eastman House; the Smithsonian Institution; Photokina; Corcoran Gallery of Art; Royal Photographic Society, as well as traveling exhibitions for the United States Information Service and for Parade magazine. He was a member of the faculty of the Columbia University Graduate School of Journalism and a Spencer Chair Professor at S. I. Newhouse School of Public Communications, Syracuse University. Rothstein was also on the faculties of Mercy College, and the Parsons School of Design in New York City, and he took great pride in mentoring young photographers including Stanley Kubrick, Douglas Kirkland, and Chester Higgins, Jr. A recipient of more than 35 awards in photojournalism and a former juror for the Pulitzer prize, Rothstein was also a founder and former officer of the American Society of Magazine Photographers (ASMP). Arthur Rothstein died on November 11, 1985, in New Rochelle, New York.Source: Wikipedia It is sometimes desirable to distort or accentuate with lenses of various focal lengths... Deliberate distortion may actually add to its reality. -- Arthur Rothstein
John Novis
John Novis
United Kingdom
1950
John Novis is photographer and story teller working on environmental issues, particularly climate change for the last 30 years. Climate Change is the biggest global threat ever known to mankind, yet it is the most challenging and difficult subject to visualize to any great effect. Any image presented, be it extreme weather events, scientific evidence or global protests can be argued against by a sceptic media, governments and industry. It is precisely this challenge that drives concerned photographers to push ever more creative photos into the image pool to drive home the importance of this emergency of our times. We are getting somewhere thanks to Greta Thunberg and Environmental groups such as Greenpeace, Extinction Rebellion etc. which provide scope for compelling pictures. Social media has also provided a valuable platform for citizen journalism reporting climate related events as they unfold in real time. How I got there I stared my career in photography in London during the 'swinging 60's 'years working with high profile photographers in Vogue, Apple Corp (Beatles), top Fashion and Industrial photo studios Adrian Ensor Labs up until 1977 when I enrolled on a 3 year 'Creative Photography' course in Nottingham University under the guidance of Thomas Joshua Cooper and Raymond Moore. In 1980 I received a grant from UK South East Arts to make a 30 minute, 16mm film called 'Our trip to the Zoo' analysing the family snapshot with the old Kodak slogan – 'to capture life'. Throughout most of the 80's I worked as a freelance commercial photographer and then in 1989 I joined Greenpeace as an in –house photographer where I was employed until 2015. Just before I joined Greenpeace, I was becoming disillusioned with photography as an instrument for advertising and generating profit. It was though Greenpeace I was able to employ my expertise in photography to produce images that would serve as a wake-up call to the critical state of our environment. As photography became more important to the organisation I became Head of Photography at the international headquarters in Amsterdam, directing major photo projects such as: - Ocean and whaling expeditions, Amazon – Illegal logging, Yunnan, China campaigning against the introduction of GMO rice to the rice growing communities, Climate in Crisis - Yellow River drying up, the Disappearing Glaciers on Everest, Climate and Poverty along the Silk Road in Gansu Province, China - Palm oil production in Riau, Indonesia and 'Forest Solutions' global communities living from the forest management towards a sustainable solution. In addition, I have also worked on numerous successful publications including the nuclear industry of Russia with Dutch photographer Robert Knoth, (Panos) and Bhopal – '' with Raghu Rai (Magnum). My professional services outside Greenpeace have included, organizing and hosting the Beijing Photo Master Classes with World Press Photo winners, member of the jury for the 2007 CHIPP (China International Press Photo Contest) and Member of the Jury and visiting lecturer to Fotopub, Slovenia July 2008. Directing a major exhibition and slide show at 1999 Perpignan, Visa Pour L'image with an interview with Jean Francois Leroy on stage. In 2012 I ran a photo workshop and curated a renewable energy exhibition at the Angkor Photo Festival in Siem Reap, Cambodia and was invited as guest speaker for Wild Photos at the Royal Geographic society in 2011. I am currently working on Climate Emergency events and supporting on line publications with consultancy and archive picture material.
Ralph Milewski
Ralph Milewski
Germany
1968
Ralph Milewski is an artist from Germany who works with photography. His work moves between documentary observation and conceptual approaches and engages with spaces, transitions, and traces of human presence. At the center of his artistic practice is the ongoing project Rear Seat Diaries. The images are created from the back seat of a VW Caddy and photographed through the side window. The window frame forms a constant visual system: the world moves through this fixed frame while the perspective remains unchanged. Within this structure, Milewski works with repetition and variation. Everyday situations, passing scenes, and fleeting encounters appear under the same visual conditions and gradually form a coherent body of work over time. Alongside these observational images, conceptual works also emerge within the project. They explore questions of movement, time, and perception and expand the original visual system. His working method is deliberately reduced. Milewski works with minimal equipment and uses existing situations and lighting conditions as the starting point for his images. His photographs emerge from scarcity, not from abundance. Rear Seat Diaries: Rear Seat Diaries is an ongoing photographic project that began in 2022 from a simple observation: the side window of my vehicle became the fixed frame of my images. Over time, this frame developed into a visual system. While places, situations, and light constantly change, the frame remains constant and structures each photograph. Within this system, both observed moments and deliberately staged situations emerge. Everyday encounters, interventions, experiments with movement, or longer exposures are brought together through the same fixed frame. Rear Seat Diaries is not a finished project but an open working process. The recurring frame becomes a constant structure within which different forms of observation, time, and intervention unfold.
Russell Lee
Russell Lee
United States
1903 | † 1986
Russell Lee (July 21, 1903, Ottawa, Illinois – August 28, 1986, Austin, Texas) was an American photographer and photojournalist, best known for his work for the Farm Security Administration (FSA). His technically excellent images documented the ethnography of various American classes and cultures. Lee grew up in Ottawa, Illinois and went to the Culver Military Academy in Culver, Indiana for high school. He earned a degree in chemical engineering from Lehigh University in Bethlehem, Pennsylvania.(Source: en.wikipedia.org) He gave up an excellent position as a chemist to become a painter. Originally he used photography as a precursor to his painting, but soon became interested in photography for its own sake, recording the people and places around him. Among his earliest subjects were Pennsylvanian bootleg mining and the Father Divine cult. In the fall of 1936, during the Great Depression, Lee was hired for the federally sponsored Farm Security Administration (FSA) photographic documentation project of the Franklin D. Roosevelt administration. He joined a team assembled under Roy Stryker, along with Dorothea Lange, Arthur Rothstein and Walker Evans. Stryker provided direction and bureaucratic protection to the group, leaving the photographers free to compile what in 1973 was described as "the greatest documentary collection which has ever been assembled." Lee created some of the iconic images produced by the FSA, including photographic studies of San Augustine, Texas in 1939, and Pie Town, New Mexico in 1940. Over the spring and summer of 1942, Lee was one of several government photographers to document the eviction of Japanese Americans from the West Coast, producing over 600 images of families waiting to be removed and their later life in various detention facilities. After the FSA was defunded in 1943, Lee served in the Air Transport Command (ATC), during which he took photographs of all the airfield approaches used by the ATC to supply the Armed Forces in World War II. He worked for the United States Department of the Interior (DOI) in 1946 and 1947, helping the agency compile a medical survey in the communities involved in mining bituminous coal. He created over 4,000 photographs of miners and their working conditions in coal mines. In 1946, Lee completed a series of photos focused on a Pentecostal Church of God in a Kentucky coal camp. While completing the DOI work, Lee also continued to work under Stryker, producing public relations photographs for Standard Oil of New Jersey. Some 80,000 of those photographs have been donated by Exxon Corporation to the University of Louisville in Kentucky. In 1947 Lee moved to Austin, Texas and continued photography. In 1965 he became the first instructor of photography at the University of Texas. In addition to the materials at the University of Louisville, other important collections of Lee's work are held by the New Mexico Museum of Art,[6] Wittliff collections, Texas State University and the Dolph Briscoe Center for American History at the University of Texas at Austin.
Terri Gold
Terri Gold
United States
1955
Terri Gold is a photographer known for her poetic infrared and color imagery of people from the remote corners of the globe. Her ongoing project "Still Points in a Turning World" explores our universal cross-cultural truths: the importance of family, community, ritual and the amazing diversity of its expression. As the timeless past meets the imminent future, indigenous cultures that still follow their traditional way of life are rapidly disappearing. At risk is a vast archive of knowledge and expertise. What is the value of ancient practices? What will be discarded and what will be treasured? If we share our stories and appreciate the mysteries of every realm, we may gain a deeper understanding of that which lies both behind and ahead of us. Her work has garnered many awards, is shown in galleries internationally and published extensively. Recent publications of her work include articles in the BBC Picture Desk, The Huffington Post, aCurator, and Featureshoot. She had a solo show at the Salomon Arts Gallery in New York in 2018. Her work won the Grand Prize in Shadow and Light magazine competition in 2019 and in The Santa Fe Photographic Workshops’ "Diversity" competition. She has received recent awards in the International Photography Awards, Prix de la Photographie, Paris (Px3), Humanity Photo Awards, and the Black and White Spider Awards. She is always happiest with a camera or three in her hands. Statement In the Sahel desert in Chad, the nomadic Wodaabe people spend months apart, searching out pastures for their herds and shelter for the families. When the rains are good, the clans celebrate with an extraordinary courtship ritual and beauty contest called The Gerewol and it's the men who are on parade. The sweltering desert region of Chad seems an unlikely place to be so concerned with beauty yet it is an integral part of the Wodaabe culture. They consider themselves to be the most beautiful people on earth. They display their beauty as a spiritual act, full of dignity and honor. Each person is an artist and they are their art. A living canvas. The intensity rises as they dance all night in their technicolor dreamcoats, a surreal line-dance. Many different arrangements are made at the festival, some for the night, some for a lifetime. All is possible at the Gerewol...
Graham Hobart
Graham Hobart
United States
1960
Graham Hobart grew up in a British colony in Africa. After living for a while in England, Hobart moved to the US and supported his family as a commercial photographer before deciding that he wanted to move from shooting to please a client to doing something that fulfilled his artistic passions. Hobart began exploring many different forms of expression from video to sculpting in bronze but settled on wildlife and nature photography. He chose infrared photography in particular because it allowed him to break away from the mundane and create a look that was uniquely his. Currently he is known for two very distinct styles that you may be able to differentiate when studying his images. One style, "In Search of White” allows as much of the paper to show through with a minimalistic approach akin to a pencil or ink sketch. The other style, darker and more ominous, is called “Out of Obscurity”. Before seeking commercial gallery representation Hobart established a firm foundation for his new career by having his work exhibited in major institutions like National Geographic, the Smithsonian National Museum of Natural History, the Booth Western Art Museum and other institutions. Now Hobart is represented in several galleries here in the US as well as abroad. Artist’s Statement : Regaining what has been lost. Some activist photographers use shock and guilt as tools to bring attention to the plight of the natural world. Equally dismaying are photos depicting pristine images of Nature at its most beautiful, which can leave the viewer with the mistaken notion that all is well. Harnessing the unique qualities of infrared photography, Hobart creates images reminiscent of old Victorian lithographs by explorers like Thomas Baines from the late nineteenth century. Hobart’s images evoke a haunting nostalgia for a bygone era by transporting us to a time to when animals roamed freely. His work challenges us to give the overly stressed wild areas the space to heal as we learn to reestablish our coexistence with the natural world. Hobart believes we never fully experience life without first getting close to nature. He implores us to tread lightly where we walk and listen carefully to all the plants and creatures around us. “Each of us must acknowledge that we must share this beautiful world with all its inhabitants or lose it.” — Graham Hobart AAP Magazine AAP Magazine 54 Nature
Simon King
Simon King
United Kingdom
1995
Simon is a London based Street and Documentarian photographer. His time is divided between shooting personal projects, assignments, and general street photographs. Simon also teaches a short course in Street Photography at the University of the Arts, London, with a focus on empowering students to overcome boundaries when shooting on the street, as well as how to discover details and moments in the world around them, and translate those into images. Simon's projects include work behind the scenes at London Fashion Week, as well as a number of movie and television sets. His BTS work relies heavily on his street photography style, and approach towards candid scenes. His work now takes him around the world, as he narrows the scope of his storytelling to focus on elements of humanity that fascinate him. His photography features emotion and energy in every frame, with a real sense of empathy and compassion towards his subjects. Despite this emphasis on character and emotion his images are distinct in their minimalism, telling the story with as few elements as possible. The majority of his work is shot on 35mm film, which offers the best balance in terms of quality and manoeuvrability.
Joshua Lutz
Joshua Lutz
United States
1975
Joshua Lutz is an American artist working with large-format photography and with video. Lutz was given his first solo exhibition at Gitterman Gallery during the summer of 2004. In 2008 Lutz's first book, Meadowlands, was published with powerHouse Books. In essayist Robert Sullivan's introduction to the book he describes the Meadowlands as “… that giant swath of swamp and space that separates New Jersey from New York City, or, put another way, from New York City and the rest of the United States of America.” The New Yorker wrote "Joshua Lutz takes the New Topographics of Adams, Shore, and Sternfeld into its current era of urban sprawl.” In the fall of 2008 Lutz had a solo exhibition for the Meadowlands series at ClampArt Gallery in New York City. 2013 saw the release of Hesitating Beauty. A series of photographs revealing a different side of Lutz's photography, it tells the story of his mother. Mind the Gap (2018) is "an exploration through photographs and text of how our society and the things we experience affect our mental health".Source: Wikipedia Joshua Lutz‘s large-format photographs of urban sprawl and suburban portraiture capture intimate details of places and their inhabitants in a soft, moody palette. The subtle tension in Lutz’s photographs between natural and man-made structures expands upon themes of Stephen Shore and the New Topographics. From an image of an airplane take-off framed by trees and a cell phone tower in his Meadowlands series to rows of wind turbines amid factories on a grassy plain in his new Am Dam series, Lutz’s photographs offer new views of the post-suburban landscape, capturing on film the spirit of simultaneous progress and decay. Meadowlands, Lutz’s debut monograph, was published by powerHouse Books in 2008, and has received considerable acclaim including being named Village Voice “Best in Show,” and Photo District News and American Photo‘s “Best Photography Books of 2008.” The recipient of the Tierney Fellowship, Best Editorial awards from Photo District News and Communication Arts, Lutz was also named one of Photo District News‘ top 30 emerging photographers. His work has been featured in The New Yorker, Harper’s, The New York Magazine, Newsweek, ArtNews, and Time. Lutz received his B.F.A. from Bard College in 1997, and his M.F.A. from Bard College at the International Center of Photography in 2005. He is currently on the faculty at the International Center of Photography in New York.Source: Robert Koch Gallery
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Interview
Interview with Maureen Ruddy Burkhart
Photographer Maureen Ruddy Burkhart brings a quietly attentive and deeply human sensibility to her exploration of the world through images. Shaped by a life immersed in photography, film, and visual storytelling, her work is guided by intuition, observation, and an enduring interest in the emotional undercurrents of everyday life. With a practice rooted in both fine art traditions and documentary awareness, she approaches her subjects with sensitivity, allowing subtle moments to emerge naturally rather than be imposed. Her series Til Death, selected as the Solo Exhibition for February 2025, reflects this long-standing commitment to photography as a space for reflection rather than spectacle. Drawn to moments that exist just outside the expected frame, Burkhart’s images suggest narratives without resolving them, leaving room for ambiguity, humor, and quiet connection. We asked her a few questions about her life and work.
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