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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Matthew Hardy-Brown
Matthew Hardy-Brown
Matthew Hardy-Brown

Matthew Hardy-Brown

Country: South Africa
Birth: 2000

Matthew Hardy-Brown's artistry unveils the enchanting beauty of our world, reminding us of the untamed wonder that surrounds us. With every click, he captures fleeting moments of unscripted time. His work is a testament to the natural wonder surrounding daily life.

Originally from South Africa, Matthew Hardy-Brown's creative roots were planted in the landscapes of Australia, upon his relocation at 10 years old. While he didn't grow up by the ocean, it was here that he found his poetic sanctuary.

As a self-described introvert, Matthew Hardy-Brown sought refuge by the water's edge, discovering his voice through the lens of his camera. He values unfiltered moments, intentionally avoiding excessive editing and digital manipulation.

To MHB, magic ignites through authenticity—a commitment he fiercely upholds.

At the core of Matthew Hardy-Brown's ethos lies a resounding mantra: "Live Often, Smile More." Having personally confronted the harsh realities of life's unpredictability, he gained a profound insight: tomorrow is not promised. Fuelled by this understanding, he is on a mission to share the world's inherent beauty, to inspire others that it's never too late to pursue a passion, to be a good human, and ultimately, to live often and smile more.

His passion for capturing life's grandeur has earned him collaborations with industry giants such as Ralph Lauren, Mini Cooper, Paramount Pictures, and GoPro. His proudest achievement earned him the national exclusive as Canon’s premier artist with his timeless images featured throughout stores across Australia.



Statement:
Matthew explores the delicate dance between the wild and the human spirit, capturing moments that transcend the ordinary. Through a lens finely tuned to the nuances of the natural world, these pieces invite viewers to immerse themselves in the rhythmic chaos of crashing waves, the fearless dance of surfers, and the subtle interplay of light and shadow on the water's surface.

Websites

www.mhb.studio

@matthardybrown

 

Inspiring Portfolios

Marjolein Martinot
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Jackson Patterson
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Nanda Hagenaars
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More Great Photographers To Discover

Alice De Kruijs
Alice De Kruijs
The Netherlands
1981
Alice de Kruijs is a fine-art photographer based in The Netherlands. She frequently touches the subject of identity and diversity and aims to go against the standard ideals and showcase stories through culture and different ethnic backgrounds, her work is a celebration of these differences in culture. As her way of life, she loves to conceptually and symbolically tell stories. Usually by showing a different perspective on personal daily life struggles. Born in 1981 in the east of The Netherlands she grew up in an artistic family. Nevertheless her true artistic passion in photography started in her late twenties. After graduating from Internation Fashion Design and later on from Applied Photography Design with a specialisation in Fine-art portraits she dedicated her life to conceptual photography. In her early thirties she gradually moved to fine-art photography in combination with story telling photography. Family Member(s) In this serie I honour my beloved grandmother. She has been a friend and inspiration my entire life. Although she passed away in 1994, when I was just 13 year old my memories are vibrant. This year (2020), August 2nd she would have celebrated her 100th birthday. On this day, I have publish the complete body of work existing of 18 images plus 10 original images. In some images, I copied the old photo from our family photo books. The story starts with an images from my great grandma before and after pregnancy of her 5 children (see family picture), following with an image of my grandmother at age 3. It continues with images of her when she was a young teenager and as a young adult just before World war II. During the war, not many pictures were taken of her. The first image after WWII is the marriage photo. She struggled with a lot of miscarriages in the late 1940's but finally my father was born in May 1950, I would be her only child. During the 1980's she started having breast cancer and later on bone cancer. After many years trying to fulfill life as much as possible, she died from bone bone cancer at age 74. The last image represents her death. As this is a very personal project and shot during COVID 19 period I only photographed myself or my direct family members for the duo image. This created an even stronger bound. This serie is dedicated to Jeanne Margaretha de Kruijs - Slotboom 02/08/1920 - 14/01/1994
Tabitha Bernard
Tabitha Bernard
United States
1994
Tabitha Barnard was born in Freedom, New Hampshire in 1994. She is a photographer who grew up in rural Maine with three sisters. Growing up in a very Christian female-dominated family has had a huge influence on her work. Barnard works primarily in digital color photography exploring themes of femininity and religion. She received her Bachelor of Fine Art from Maine College of Art in the Spring of 2016 and a Masters of Fine Art from Massachusetts College of Art in the Spring of 2021. She has worked in both commercial studio settings, as a shooting assistant, and as the media technician for the photo department at the Maine College of Art. She currently works in Portland Maine, teaching at the Maine College of Art.
Misha Maslennikov
Misha Maslennikov
Russia
1964
Misha Maslennikov was born in 1964 in the settlement of Dobroe close to Moscow, Russia. Since 2013 constantly lives in the city of Odessa, Ukraine. He began traveling in the Russian North in 2002. The main areas are single expeditions to the places difficult of access, visiting and co-operation with cenobites of active monasteries, sketes, with keepers of ancient temples, pogosts, studying the way of life of modern hermits, anchorites, real intercourse and contacts with backwoodsmen. Since the middle of 2005 Misha goes in for field reportage photography and begins thinking seriously about the photographic process as a way of the particular conveyance of author ideas in a missionary vein. At present Misha Maslennikov continues his work on private and public projects in documentary photography, individual and group expeditions according to a given subject, collection of materials, visual ethnography. Since 2006 - member and Team Leader of the Noga Creative Union. Since 2010 - member of the Russian Photounion. Since 2010 - member of the Russian Geography Society.
Rebecca Gaal
Rebecca Gaal
United States
1985
Rebecca Gaal is a humanitarian and conservation photographer, painter, illustrator, writer and student of International Public Health studies. She is devoted to examining healthcare issues, environmental concerns and the relationships between the two. Her work has taken her across the globe where she has been witness to the full spectrum of humanity. Gaal’s passion is long term, in-depth projects where she can watch the progression or degradation between man, medicine, nature and it’s inhabitants. Gaal’s work aims to show the interconnectedness of issues, to create better understanding and find solutions. The hope is that with understanding, empathy and change have a chance to grow. When not on assignment or teaching photography courses, Rebecca can be found racing outrigger canoes, working in the garden with her golden retrievers, puttering in the garage or drawing while the coffee brews. Rebecca is available for international assignments, editorial and commercial work.
Mary Ellen Mark
Mary Ellen Mark
United States
1940 | † 2015
Mary Ellen Mark is an American photographer known for her photojournalism, portraiture, and advertising photography. She has had 16 collections of her work published and has been exhibited at galleries and museums worldwide. She has received numerous accolades, including three Robert F. Kennedy Journalism Awards and three fellowships from the National Endowment for the Arts. Mary Ellen Mark was born in suburban Philadelphia, Pennsylvania, and began photographing with a Box Brownie camera at age nine. She attended Cheltenham High School, where she was head cheerleader and exhibited a knack for painting and drawing. She received a BFA degree in painting and art history from the University of Pennsylvania in 1962, and a Masters Degree in photojournalism from that university's Annenberg School for Communication in 1964. The following year, Mark received a Fulbright Scholarship to photograph in Turkey for a year. While there, she also traveled to photograph England, Germany, Greece, Italy, and Spain. In 1966 or 1967, she moved to New York City, where over the next several years she photographed Vietnam War demonstrations, the women's liberation movement, transvestite culture, and Times Square, developing a sensibility, according to one writer, "away from mainstream society and toward its more interesting, often troubled fringes". As Mark explained in 1987, "I'm just interested in people on the edges. I feel an affinity for people who haven't had the best breaks in society. What I want to do more than anything is acknowledge their existence". Her shooting style ranges from a 2 ¼ inch format, 35 mm, and 4x5 inch view camera. She also uses a Leica 4 for most photographs and Nikons for long-range shooting. Mark loves shooting with a Hasselblad for square format and she shoots primarily in black-and-white, using classic Kodak Tri-X film. Source: Wikipedia Mary Ellen Mark achieved worldwide visibility through her numerous books, exhibitions and editorial magazine work. She published photo essays and portraits in such publications as Life, New York Times, The New Yorker, Rolling Stone, and Vanity Fair. For over five decades, she traveled extensively to make pictures that reflect a high degree of humanism. She is recognized as one of our most respected and influential photographers. Her images of our world's diverse cultures have become landmarks in the field of documentary photography. Her portrayals of Mother Teresa, Indian circuses, and brothels in Bombay were the product of many years of work in India. A photo essay on runaway children in Seattle became the basis of the academy award-nominated film Streetwise, directed and photographed by her husband, Martin Bell. Mary Ellen received the 2014 Lifetime Achievement in Photography Award from the George Eastman House as well as the Outstanding Contribution Photography Award from the World Photography Organisation. She has also received the Infinity Award for Journalism, an Erna & Victor Hasselblad Foundation Grant, and a Walter Annenberg Grant for her book and exhibition project on America. Among her other awards are the Cornell Capa Award from the International Center of Photography, the John Simon Guggenheim Fellowship, the Matrix Award for outstanding woman in the field of film/photography, and the Dr. Erich Salomon Award for outstanding merits in the field of journalistic photography. She was also presented with honorary Doctor of Fine Arts degrees from her Alma Mater, the University of Pennsylvania and the University of the Arts; three fellowships from the National Endowment for the Arts; the Photographer of the Year Award from the Friends of Photography; the World Press Award for Outstanding Body of Work Throughout the Years; the Victor Hasselblad Cover Award; two Robert F. Kennedy Awards; and the Creative Arts Award Citation for Photography at Brandeis University. She published twenty books including Passport (Lustrum Press, 1974), Ward 81 (Simon & Schuster, 1979), Falkland Road (Knopf, 1981), Mother Teresa's Mission of Charity in Calcutta (Friends of Photography, 1985), The Photo Essay: Photographers at work (A Smithsonian series), Streetwise (second printing, Aperture, 1992), Mary Ellen Mark: 25 Years (Bulfinch, 1991), Indian Circus (Chronicle, 1993 and Takarajimasha Inc., 1993), Portraits (Motta Fotografica, 1995 and Smithsonian, 1997), a Cry for Help (Simon & Schuster, 1996), Mary Ellen Mark: American Odyssey (Aperture, 1999), Mary Ellen Mark 55s (Phaidon, 2001), Photo Poche: Mary Ellen Mark (Nathan, 2002), Twins (Aperture, 2003), Exposure (Phaidon, 2005), Extraordinary Child (The National Museum of Iceland, 2007), Seen Behind the Scene (Phaidon, 2009), Prom (Getty, 2012,) Man and Beast (University of Texas Press, 2014,) Tiny: Streetwise revisited (Aperture, 2015,) and Mary Ellen Mark on the Portrait and the Moment (Aperture, 2015.) Mark's photographs have been exhibited worldwide. She also acted as the associate producer of the major motion picture, American Heart (1992), directed by, Martin Bell. Her last book Tiny: Streetwise Revisited is a culmination of 32 years documenting Erin Blackwell, who she first met in 1983 on assignment for Life Magazine. Erin was the subject of both the book and film Streetwise. Martin also made an updated film, Tiny: The Life of Erin Blackwell. Aside from her book and magazine work, Mark photographed advertising campaigns among which are Barnes and Noble, British Levis, Coach Bags, Eileen Fisher, Hasselblad, Heineken, Keds, Mass Mutual, Nissan, and Patek Philippe.Source: www.maryellenmark.com
Emilie Arfeuil
Emilie Arfeuil
France
1983
Emilie Arfeuil is a visual artist and photographer, with a background in cinema at Sorbonne University. She questions the complexity of representation of identities and their perception, the transformation of the gaze from the invisible to the visible, and the relationship between nature and unnatural. Her artworks are mainly presented in the form of photographs and installations, multimedia and sound creations or objects. She has won the Prix SAIF Les Femmes s'exposent 2022 and the 2nd Prize Gomma Grant 2021 with her project « Hylé ». Her work has been exhibited at the Promenades Photographiques, Boutographies, Map Toulouse, Quinzaine Nantaise, Fictions documentaires, Focus Festival in Bombay, as well as in galleries and institutions in France, Berlin, London, Phnom Penh and Brussels. His photographs have been published in Libération, Muze and Néon. The film "Scars of Cambodia" (co-written with Alexe Liebert) has received 8 awards and has been selected in about 20 international festivals. She lives in the south of France.
Souichi Furusho
Souichi Furusho
Japan
1977
I live in Kumamoto-Japan, and work as a graphic designer in the field of advertising media. I discovered iPhoneography on Facebook and Flickr a couple of years ago, about the same time I bought my iPhone. That was followed by a variety of delightful encounters with people online. I have since participated in exhibitions in "Spain, The Netherlands, and California" along with iPhonegraphers from various countries. Although I had no prior experience whatsoever as a photographer, I was familiar with working with photographs as part of my career in graphics. My style is what I call "freedom & simple", and I approach it from many different angles. This style is the result of pursuing my own vision, which is represented by my works. iPhoneography has provided interesting opportunities for my new form of representation. The umbrella has become a symbol essential to my work. For me, the umbrella embodies the thoughts and dreams of people. This is a series of images using the umbrella as “a vehicle which carries a dream.
John Coplans
John Coplans
United Kingdom
1920 | † 2003
John Rivers Coplans was a British artist, art writer, curator, and museum director. His father was Joseph Moses Coplans, a medical doctor and a man of many scientific and artistic talents. His father left England for Johannesburg while John was an infant. At the age of two, John was brought to his father in South Africa; from 1924-1927 the family was in flux between London and South Africa, settling in a seaside Cape Town suburb until 1930. Despite the instability of his early home life, Coplans developed an enormous admiration for his father, who took him to galleries at weekends and instilled within him a love for exploration, experimentation, and a fascination with the world. In 1937, John Coplans returned to England from South Africa. When eighteen, he was commissioned into the Royal Air Force as an Acting Pilot Officer. Due to his hearing being affected by a rugby match, two years later, he volunteered for the army. His childhood experience living in Africa led to his appointment to the King’s African Rifles in East Africa. He was active as a platoon commander (primarily in Ethiopia) until 1943, after which his unit was deployed to Burma. In 1945 Coplans returned to civilian life and decided to become an artist. After being demobilised, Coplans settled in London, rooming at the Abbey Art Centre; he wanted to become an artist. The British government was giving grants to veterans of the war, and he received one such grant to study art. He tried both Goldsmiths and Chelsea College of the Arts, but found that art school did not suit him. He painted part-time for clients including Cecil Beaton, Basil Deardon whilst running his business John Rivers Limited which specialised in interior decorating. In the mid-1950s, Coplans began attending lectures by Lawrence Alloway at the Institute of Contemporary Arts. Here he was introduced to the budding Pop Art movement, which he would become deeply involved in as both critic and curator. His experience viewing exhibitions such as the Hard-Edged Painting exhibition (ICA, 1959) and New American Painting (The Tate, 1959) helped to solidify his growing passion for not just Pop Art, but American art as well. During this period he struggled as a young artist to find his artistic voice, and developed an abstract painting practice which reflected trends of tachism and Abstract Expressionism pioneered by Americans Jackson Pollock and Willem de Kooning. Coplans would later refer to this early painting work as "derivative"; these paintings were shown in exhibitions at the Royal Society of British Artists (1950) and later at the New Vision Center. In 1960, Coplans sold all of his belongings and moved to the United States, initially settling in San Francisco and taking a position at UC Berkeley as a visiting assistant design professor. Here he met gallerist Phil Leider, the future editor of ArtForum. Leider connected Coplans to John Irwin, who wanted to start a magazine. Coplans convinced Irwin that the West Coast needed an art publication: one that gave voice to art that was important, but had not yet received critical attention. He further suggested that it should be published in square format so that both vertical and horizontal images would be viewed equally, thus giving birth to ArtForum's iconic shape—and to the successful foundation of ArtForum itself. Coplans was a regular writer for the magazine. His perspective on art writing was anti-elitist, using popular appeal and excitement over new work to “stimulate debate and awareness” especially for West Coast artists. Finding himself conflicted between his painting and writing careers, he chose the latter and devoted the next twenty years of his life to the magazine, as well as curatorial pursuits and a career as a museum director. It was not until 1981, at the age of 62, that he returned to his career as an artist.Source: Wikipedia John Coplans had a career in reverse. He was 60 by the time he established himself as a photographer, having already had a long and active life as a curator, editor, writer, artist and decorator. A pioneer of selfportraiture, he took large format black-and-white close-ups of his bare body that sent ripples of shock, recognition and frequent praise through the international art world. A major element in the fascination was an obsession with one of our few remaining taboos: the process of ageing and physical decrepitude. And with the anonymity of identity: in Coplans' words, "To remove all references to my current identity, I leave out my head." The blow-ups of sagging flesh, creased folds, odd protuberances and body hair of an old man become the documentary tale of the decline of Everyman. After a brief spell teaching at the University of California, Berkeley, in 1962 Coplans co-founded Artforum magazine and, for the next two decades, his career was to be as artistically various as it was financially precarious. Artforum was intended to combat the anti-intellectualism Coplans felt he had encountered at Berkeley, and the notion that there was nothing to be said about art, since you either made it or looked at it. His whole background was in stimulating debate and awareness, at a popular rather than an elite level. Inevitably, as he later explained, "The thing was how to get the eastern establishment to read about west coast art". Within five years, the magazine was relocated to Manhattan, with Coplans acting as west coast editor. As a museum curator, he enjoyed similarly shifting fortunes. His first project was a pop art exhibition at the Oakland art museum, and, in 1963, he became director of the university gallery at Irvine, organising an important show by Frank Stella. From 1967 to 1971, he transferred to the Pasadena art museum. Alongside established artists like Roy Lichtenstein, Andy Warhol and Donald Judd, he gave Robert Irwin, Richard Serra and James Turrell their first shows. In 1971, Coplans moved to New York to became editor of Artforum, and, in 1975, published his own version of events leading to the bankruptcy and takeover of the Pasadena art museum, “Diary Of A Disaster.” During his seven years at the helm, Artforum increasingly jettisoned the militant formalism with which it had been identified, and became a platform for the catholicity of Coplans' artistic tastes, including19th-century photography and contemporary European abstract art. In 1978, the publisher gave Coplans the choice of buying the magazine or quitting. Not being in a position to do the former, he became director of the Akron art museum in Ohio, where, again, he combined curatorial work with launching a new magazine, appropriately named Dialogue. He also published books on photographers, ranging from Weegee to Brancusi, and started his own photographic experiments. By 1980, Coplans was back in New York, and the following year had his first solo show at the Daniel Wolf Gallery. At last, he had found not only the medium but also the subject of his artistic expression. He called his works auto-portraits, and, created by means of a live-feedback video camera with an automatic shutter, they honed in on the physical landscapes of the body with all the sculptural focus - but without the distortions of the lens - of Bill Brandt's Perspective Of Nudes (1961). This was to become Coplans' constant subject matter. In 1986, he had his first show of self-portraits at the Pace/MacGill Gallery, New York. Sandra Phillips, the long-time photography curator at the San Francisco Museum of Modern Art, immediately saw the importance of the work. His first major museum exhibition followed at SF MoMA in 1988, and the exhibition traveled on to the Museum of Modern Art in New York that same year. The work was rapidly acquired and shown by the The J. Paul Getty Museum, the Museum of Modern Art in New York, and the Whitney Museum of Art; in 1997 (the same year he remarried), a major retrospective was staged MoMA PS1 Contemporary Art Centre in Queens. He published books of the work, principally the anonymous-sounding A Body, Body Parts and A Self-Portrait, and finally Provocations, which includes his photo-essays and criticism. Coplans has a daughter, Barbara, and a son, Joseph; he has two granddaughters. He was married four times. His fourth wife, photographer Amanda Means, is the Trustee for the John Coplans Trust in Beacon, New York. John Coplans was born June 20, 1920 in London and died on August 21, 2003 in New York.Source: The John Coplans Trust
Craig Varjabedian
Craig Varjabedian
United States
1957
"Craig Varjabedian's photographs of the American West would be the perfect illustrations to a Cormac McCarthy book. They have a surreal beauty and poetic emptiness that border on the fictional. It's as if this isn't the real West, but the West of tall tales and American dreams." Claire O'neill, "The Picture Show," National Public Radio Craig Varjabedian is an award-winning photographer, author, and teacher. His stunning photographs of the people and places of the American West are critically acclaimed, not only for their powerful imagery and artistic composition, but also for their ability to transcend the commonplace-immanently engaging the viewer with scenes that passionately reflect the artist's connection to his subjects. Varjabedian achieves this goal through a skillful visionary acuity and intuition, allowing him to make photographs that expand awareness. As a result, viewers are presented with new ways of seeing and experiencing this region so integral to our collective imagination and our unique American identity. Varjabedian's gift lies in his ability to blend both technical expertise and illustrative narrative-depicting lyrical images that reveal the humanity and character of a vast sometimes barren country known for its legendary beauty and dramatic heritage. Varjabedian's photographs tell contemporary stories that continue to inspire today what has historically been recognized as the "spirit of the Great American West." Craig graduated from the University of Michigan witha Bachelor of Fine Arts degree, and received his Master's degree from the prestigious Rochester Institute of Technology. As a fine art photographer for over forty years, Varjabedian has been widely praised for his masterful images ranging from awe-inspiring, expansive landscapes, to intimate soul-revealing portraits. He is also the director of Eloquent Light Photography Workshops in Santa Fe. In further recognition of his work, Varjabedian has received grants from the National Endowment for the Arts, the Samuel H. Kress Foundation, the McCune Charitable Foundation, and the New Mexico Humanities Council. His photographs have been exhibited in, and his prints collected by, museums around the country, including the William Benton Museum of Art, the Baltimore Museum of Art, the Colorado Springs Fine Arts Center, the Harry Ransom Center at the University of Texas at Austin, and the Albuquerque Museum of Art. In 1991, Craig received an Emmy Award for his collaboration with award-winning filmmaker Karl Kernberger on the PBS documentary En Divina Luz: The Penitente Moradas of New Mexico. Photographs from this project were published in a 1994 book by the same name. Craig's other books include By the Grace of Light: Images of Faith from Catholic New Mexico (1998), Four & Twenty Photographs: Stories from Behind the Lens (2007); Ghost Ranch and the Faraway Nearby (2009), which received the prestigious Wrangler Award for Outstanding Photography Book from the National Cowboy and Western Heritage Museum; and Landscape Dreams, A New Mexico Portrait (2012), released to coincide with the New Mexico State Centennial. Varjabedian's latest book, Into the Great White Sands, a photographic celebration of White Sands National Monument, was published by the University of New Mexico Press in 2018. The book received a prestigious New Mexico/Arizona Book Award. Craig Varjabedian's Interview
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Exclusive Interview with Carolyn Moore
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Exclusive Interview with Luca Desienna and Laura Estelle Barmwoldt
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German photographer Henk Kosche turns his lens toward the streets of Halle an der Saale, capturing everyday life in the late years of the former German Democratic Republic. At the time, Kosche was studying design and exploring the city with his camera, drawn to the atmosphere of its industrial landscape and the quiet rhythms of daily life. His series Street Photography at the End of the 80s, selected as the Solo Exhibition for July 2025, revisits a body of work created just before a period of profound change. Rediscovered decades later in a small box of 35mm negatives, these photographs offer glimpses of a city and its people at a moment suspended between the familiar and the unknown.
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Anastasia Samoylova is an American artist whose photographic practice is shaped by close observation and a deep attentiveness to place. Working between documentary and formal exploration, she photographs landscapes, architecture, and everyday scenes with a sensitivity to light, structure, and atmosphere. Since relocating to Miami in 2016, her work has increasingly focused on how environments—both natural and built—carry social, cultural, and emotional traces. We asked her a few questions about her practice and her way of seeing, to better understand the thoughts and experiences that shape her work—while allowing the images themselves to remain open and speak in their own time.
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Exclusive Interview with Marijn Fidder
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Exclusive Interview with Josh S. Rose
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Exclusive Interview with Josh S. Rose
Josh S. Rose is a multidisciplinary artist working across photography, film, and writing. His practice bridges visual and performing arts, with a strong focus on movement, emotion, and the expressive potential of the image. Known for his long-standing collaborations with leading dance companies and performers, Rose brings together authenticity and precise composition—a balance he describes as “technical romanticism.” His work has been commissioned and exhibited internationally, appearing in outlets such as Vogue, at the Super Bowl, in film festivals, and most recently as a large-scale installation for Lincoln Center for the Performing Arts. A sought-after collaborator, he has worked with major artists, cultural institutions, and brands, following a previous career as Chief Creative Officer at Interpublic Group and the founder of Humans Are Social. We asked him a few questions about his life and work.
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Interview with Maureen Ruddy Burkhart
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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.
Read the full interview
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