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Flokje Van Lith
Flokje Van Lith
Flokje Van Lith

Flokje Van Lith

Country: Netherlands
Birth: 1969

Flokje van Lith (1969, Leiden, NL) studied photography at the Royal Academy of Arts, the Hague. Van Lith belongs to the first generation of artists to make full use of the newest Photoshop techniques. With apparent ease, she plays with the different realities that have developed independently of one another within the media of painting and photography. But appearance deceives; the making of the photograph is merely the first in a long line of decisions. The task of achieving the right result takes Van Lith weeks and sometimes months. In her work she explores childhood and its underlying traumas and issues as well as the beauty of innocence and adolescence. The final results, complex portraits of children and young adults, not only have a very aesthetic quality but also seem to tell the story of the subject.The influences of the Flemish Primitives, which can be found in the serenity of the works, but also the personal experience of the artist, resonate from the artworks.

Van Lith won several awards for her work, such as the Silver Award (International Photography Awards), Silver Award (PX3 - Prix de la Photographie) and Third Place (Kontinent Awards). In addition her works have been exhibited at photo festivals nationally and internationally, such as Photo Festival Naarden and Photoville, New York.

Awards: Kontinent Awards: Third Place, Fine-Art/ Single Image/ Professional, International Photography Awards: 8 x Honorable Mention, Fine-Art/ Portrait/ Professional, Fine Art Photo Awards: Professional Nominee, Portrait/Professional, International Color Awards 2015: Honorable Mention, Portrait/ Professional - International Photography Awards 2014: Silver Award, Fine-Art/ Professional - PX3-Prix de la Photographie, Paris, 2014: Silver Award, Fine-Art/ Professional - International Photography Award 2014: 8 x Honorable Mention, Fine-Art/ Professional - New Dutch Photography Talent 2013 - International Photography Award 2013: 4 x Honorable Mention, Fine-Art/ Professional - Photography Masters Cup 2011: 4 x Honorable Mention, Fine-Art/ Professional - International Photography Award 2011: 7 x Honorable Mention, Fine-Art/ Professional.

Exhibitions: (Selection), 2015: Aqua Art Miami (USA), Art Fair COLOGNE (Germany), PAN Amsterdam, KunstRai, Rotterdam Contemporary Art Fair, LXRY (the Netherlands), 2014: Affordable Art Fair Hamburg (Germany), PAN Amsterdam, LXRY, Affordable Art Fair, Raw Art Fair, Realisme (the Netherlands), 2013: LXRY, PAN Amsterdam, Affordable Art Fair, (the Netherlands), 2012, Art Miami Context, Photoville New York, Art Wynwood (USA), PAN Amsterdam (the Netherlands), 2011: PAN Amsterdam, Photofestival Naarden (the Netherlands).

Publications: 2015: LXRY Magazine, PF Magazine, 2014: Art Photo Feature (USA), 2013: Gooi en Eemlander (the Netherlands) 2012: Volkskrant Magazine, De Telegraaf, Haarlems Dagblad (the Netherlands)

Website

www.flokje.nl

 

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More Great Photographers To Discover

Laia Abril
Laia Abril
Spain
1986
Laia Abril s a Spanish photographer and multiplatform storyteller whose work relates to femininity. Abril was born in 1986 in Barcelona, Spain. She gained a degree in journalism in Barcelona. She moved to New York City to study photography at the International Center of Photography. In 2009 she enrolled at Fabrica research centre, the artist residency of Benetton in Italy, where she worked as a staff photographer and consultant photo editor at Colors magazine for a number of years. Since 2010, Abril has been working on various projects exploring the subject of eating disorders: A Bad Day, a short film about a young girl struggling with bulimia; Thinspiration (2012), which explores the use of photography in pro-ana websites; and The Epilogue (2014), documenting the indirect victims of eating disorders, through the story of the Robinson family and the aftermath of the death of Cammy Robinson to bulimia. Critic Sean O'Hagan, wrote in The Guardian that The Epilogue "... is a sombre and affecting photobook ... dense and rewarding ... At times, it makes for a painful read. From time to time, I had to put it down, take a breather. But I kept going back." Her extended study of misogyny thus far includes A History of Misogyny: Chapter One: On Abortion, about the repercussions of abortion controls in many different cultures. Work is ongoing to produce A History Of Misogyny, Chapter 2: On Rape. Her other projects include Femme Love, on a young lesbian community in Brooklyn; Last Cabaret on a sex club in Barcelona; and the Asexuals Project, a documentary film about asexuality. Abril's books include The Epilogue (2014), which documents the indirect victims of eating disorders, and A History of Misogyny: Chapter One: On Abortion (2018), about the repercussions of abortion controls in many different cultures. On Abortion won Photobook of the Year award at the Paris Photo–Aperture Foundation PhotoBook Awards. In 2018 she was awarded the Tim Hetherington Trust's Visionary Award to work on A History Of Misogyny, Chapter 2: On Rape Culture. For the long-term project A History Of Misogyny, in 2019 she was awarded the Royal Photographic Society's Hood Medal and in 2020 she was awarded the Paul Huf Award from Foam Fotografiemuseum Amsterdam.Source: Wikipedia
Patrick Joust
Patrick Joust
United States
1978
Patrick Joust is a 32 year old photographer living in Baltimore, Maryland. Born in Oroville, California, Patrick has gone back and forth between both coasts of the United States, before settling permanently in Baltimore in 2006 where he works as a librarian for the city library system. He started to take photography seriously about 8 years ago, but it wasn’t until he lived in Baltimore that he finally started to regularly capture and convey something close to what he wanted. Within his own city and in his travels, photography has helped Patrick to place reality within context. The complex nature of a photograph, of how it can be both truthful and false to its subject, sometimes at the same time, is part of the reason why he finds the work so fascinating. He mostly shoots film and enjoys playing around with multiple cameras in multiple formats and he enjoys following the work of others.
Baron Raimund von Stillfried
Baron Raimund von Stillfried
Austria
1832 | † 1911
Baron Raimund von Stillfried, also known as Baron Raimund von Stillfried-Rathenitz (6 August 1839, in Komotau – 12 August 1911, in Vienna), was an Austrian photographer. He was son of Baron (Freiherr) August Wilhelm Stillfried von Rathenitz (d. 1806) and Countess Maria Anna Johanna Theresia Walburge Clam-Martinitz (1802–1874). After leaving his military career, Stillfried moved to Yokohama, Japan and opened a photographic studio called Stillfried & Co. which operated until 1875. In 1875, Stillfried formed a partnership with Hermann Andersen and the studio was renamed, Stillfried & Andersen (also known as the Japan Photographic Association). This studio operated until 1885. In 1877, Stillfried & Andersen bought the studio and stock of Felice Beato. In the late 1870s, Stillfried visited and photographed in Dalmatia, Bosnia, and Greece. In addition to his own photographic endeavours, Stillfried trained many Japanese photographers. In 1886, Stillfried sold the majority of his stock to his protégé, the Japanese photographer Kusakabe Kimbei, he then left Japan. He left Japan forever in 1881. After travelling to Vladivostock, Hong Kong and Bangkok, he eventually settled in Vienna in 1883. He also received an Imperial and Royal Warrant of Appointment as photographer.Source: Wikipedia To many in the West, Japan is an exotic country, seen through the distorting lens of tourist cliches: cherry blossoms, geisha, samurai, kamikaze. In that sense, little has changed since the Meiji Era (1868-1912), when Japan was first promoted abroad as a sort of Oriental theme park. Baron Raimund von Stillfried, a 19th-century pioneer of photography in Yokohama, was the first in Japan to recognize the new medium's potential as a global marketing tool. Adept at producing theatrical souvenir photos, Stillfried also took the first ever photograph of Emperor Meiji and shocked Vienna when he imported Japanese teenage girls to the city to work in a mock teahouse. A Career of Japan by Luke Gartlan, a lecturer in art history at the University of St. Andrews in Scotland, is the first comprehensive study of Stillfried's extraordinary life and works. Written for an academic readership using the language of critical theory, Gartlan's account of a scandal-prone impresario resonates with contemporary parallels. Baron Raimund Anton Alois Maria von Stillfried-Ratenicz was born in Austria in 1839 and spent his childhood in military outposts on the fringes of the Austro-Hungarian Empire. In 1864, aged 24, he chose life as a cabin boy in a ship headed for Peru instead of an aristocratic military career. By 1868, after a couple of years adventuring in Mexico, fighting a doomed campaign for the Habsburg Emperor, he had set up a photography studio in Yokohama. The rough and ready port town was hosting its first "globetrotters," a word coined locally to describe the new wave of round-the-world tourists, propelled by the 1869 opening of the Trans-American railway and the Suez Canal. One German globetrotter, Margaretha Weppner, recorded her impressions the same year: "The foreigner in Japan leads an expensive, luxurious life. (The climate) requires that liquors should be taken before breakfast, wine, beer, and champagne at breakfast; the same routine before, at, and after dinner, and brandy and soda all day long." In Yokohama, tourism brought a new demand for "curious" and souvenir photos. Baron Raimund von Stillfried specialized in staged studio portraits featuring models decked out as traditional Japanese "types." These striking hand-colored images were widely copied in Western newspapers and became emblematic of Japan. In the same way that the foreign press today fixates on "weird Japan" stories, Stillfried's images, Gartlan argues, were a popular fiction that exploited Western ignorance. Take, for example, Two Officers - used on the cover of A Career of Japan - that purports to show two samurai with their hair in topknots. The photograph was taken in 1875, four years after the traditional hairstyle worn by Japan's warrior class was banned. It was as a paparazzo that Stillfried first achieved notoriety. Hearing that Emperor Meiji was to visit Yokosuka on New Year's Day in 1872 - the first public appearance by a Japanese monarch - Stillfried was determined to take his picture. According to contemporary accounts, he hid on a ship docked next to the Imperial landing area and secretly photographed the divine countenance through a hole in a sail. Government officials reacted with fury when Stillfried brazenly advertised his scoop, ordering a police raid on his studio. Today, only one print survives. Stillfried was threatened with deportation, and the ensuing scandal reverberated around Asia. Shanghai's North China Daily News said that the crack down was "the most foolish thing we have heard of the Japanese." Partly in order to trump Stillfried, the government commissioned an official portrait of the Emperor the same month. Kuichi Uchida's image of "H.I.M. The Mikado" in Western dress was the state's first foray into visual PR. The Meiji regime may have disapproved of Stillfried, but they admired his talents as a propagandist, and hired him six months later to photograph the newly-colonized territory of Ezo (present-day Hokkaido). Stillfried's photos of the Ainu people were displayed at the 1873 Vienna International Exhibition. Referring to a group Ainu portrait, the Japan Gazette of Jan. 23, 1873, said: "The gift of beauty - has not been vouchsafed to the female descendants of Yesso (Ezo) - whose primitive ugliness of feature is artificially increased by moustachios [sic] tattooed along the upper lip." A separate image of two of the same figures was hand-colored by Stillfried. Gartlan notes that "the selective addition of colors emphasizes the women's tattoos, a traditional practice soon to be banned by the Japanese government." Stillfried's Hokkaido photos may have been displayed in the Japanese pavilion in Vienna but the man himself was barred from joining the official delegation to his home country, due to the lingering scandal over his photo of the Emperor. He reacted with typical bravado by erecting an imitation Japanese teahouse in the exhibition grounds, staffed by teenage Japanese girls imported from Yokohama. The press reacted with thrilled prudence. "How innocent the term (teahouse) sounds to us, but what amount of shame it entails in Japan!" the official exhibition journal reported, while the Chicago Daily Tribune referred to the "Yokohama Belles" as "by no means virgins." Gartlan argues that the teahouse was a respectable project, but the scandal was enough to close it down, leaving Stillfried almost bankrupt. One employee later alleged that the photographer beat his workers, evicted the girls at gunpoint and tried to have the teahouse burned down in order to claim insurance. Returning to Yokohama in 1874, Stillfried's career faltered amid growing competition from Japanese photographers whom he had personally trained, and who were happier to portray their country as a modern nation. His final return to Viennese high society in 1883 coincided with the peak of the European craze for Japan-inspired art - culminating in "The Mikado" and "Madame Butterfly" - that his souvenir photographs had helped to create 15 years earlier. Stillfried's heavily romanticized images had, in Gartlan's words, a "vast impact on how the West perceived Japan at the time." His legacy can still be seen today. Western fantasies of Japan continue to draw on anachronistic assumptions about the country - from ornamental women to picturesque teahouses - and equally inaccurate images of a "futuristic" nation (one where fax machines have no place). Modern-day parallels can also be seen in the book's depiction of Stillfried's expat experiences: the battles with bureaucracy, the government propaganda, the conflicted approach to foreigners - and the drinking.Source: Japan Times
Diane Pierce
Diane Pierce
United States
For over twenty-five years Diane Pierce has used the medium of photography as her most primary, expressive tool. The majority of her work is created on a small tabletop. Themes for her work have included collected letters, an idea about marriage, observations when straying from home, still life, collage and most recently thoughts on drawing. She studied both Painting & Drawing and Photography as an undergraduate student at San Francisco State University and did graduate studies at Mills College, Oakland, CA, specifically in photography. She has a thorough background in traditional and digital photographic skills as well as alternative photographic processes and has often crossed the territories of a variety of mediums, but always including photography. Her work is in the collections of The San Francisco MOMA, The MFA, Houston, The Bibliothèque Nationale, Paris and others. She has quietly exhibited over her career.
Beckett Hornik
Beckett Hornik
United States
2002
Beckett was born and lives in the San Francisco Bay Area. He began photographing in sixth grade when he decided to pick up a film SLR camera as an alternative way to capture moments throughout his early teen years. His interest in photography grew during his middle school period. He explored the photos of many masters of photography and found inspiration in the California and Bay Area art scene. He also became interested in fashion and art magazines at this time. Beckett’s photography is strongly rooted in the work he has seen and admired, as well as by the environment and people around him. In the summer of 2016, he attended an Eric Kim street photography workshop. Through this, he expanded his photography beyond the bounds of his family and friends to the less comfortable settings of streets and cities he visited. Beckett continues to shoot photos as often as possible. He is expanding his interests, always searching for the next focus of his teenage years and possibly one that will continue into his adult life.
Flip Schulke
Flip Schulke
United States
1930 | † 2008
Flip Schulke was an American photographer, born Graeme Phillips Schulke. He grew up in New Ulm, Minnesota. Schulke's nickname "Flip" came about from his interest in gymnastics. He graduated from Macalester College, then moved to Miami. He taught briefly at the University of Miami, then began working as a freelance photographer. He worked for Life , and covered a variety of events, including the Cuban revolution. In 1962, he visited and photographed the Berlin Wall. Schulke began photographing the civil rights movement in the American south as early as 1956. He formed a bond with civil rights activist Martin Luther King, Jr. after an all-night conversation in 1958, and began photographing him. King invited Schulke to photograph secret planning meetings of the Southern Christian Leadership Conference, though not all of the activists trusted him being there. He also photographed the 1963 March on Washington and the 1965 Selma to Montgomery March. They traveled together until King's death in 1968, which upset Schulke so much that he stopped covering the civil rights movement and began to work on more commercial projects. In all, he took around 11,000 photographs of King, including some of his funeral. Schulke photographed Muhammad Ali, Jacques Cousteau, Fidel Castro and John F. Kennedy. He also was a photographer for the Environmental Protection Agency's Documerica program in the early 1970s. Schulke died on May 15, 2008 at age 77. The Dolph Briscoe Center for American History at the University of Texas at Austin holds 300,000 of his photographs. His photographs are also held in a variety of museums, including the Harvard Art Museums, the Cleveland Museum of Art, the National Museum of American History, the University of Michigan Museum of Art, the Minneapolis Institute of Art, and the Lehigh University Art Galleries.Source: Wikipedia My biggest problem with young photographers is that they don't think about context. They think about drama. You've got to know where to point your camera. -- Flip Schulke When the Berlin Wall came down, thousands of people from around the world converged to celebrate the end of over 40 years of a divided Europe. Among them was American photojournalist Flip Schulke, who had visited the wall many times since it was erected in 1961 in an attempt to document what he described as "man's physical ability to build a bastion between himself and his own dignity, if he tries hard enough". As he mingled with the crowd, he heard on their lips not a German protest song, but the famous American civil rights anthem "We shall overcome". It was a song he knew well. As a photojournalist in the 1950s and 1960s, Schulke captured many significant moments in the nation's struggle for civil rights in the 1960s, such as the marches to end segregation from Selma to Montgomery, Alabama, and Martin Luther King's funeral in 1968. After the Berlin Wall went up in 1961, Schulke brought his civil rights experiences with him as he attempted to capture the wall's symbolic and physical power. "This is the wall that fear built," Schulke wrote in notes during his visit to the wall in 1962. "This was the wall where hate stood guard, and men stooped much lower than angels. On one side it was bright and clean from the sun of freedom. (On) the other dark and bitter - the rot of slavery." Comprised of bricks, mortar, steel wire and jagged glass fragments to deter climbers, the wall both appalled and shocked Schulke, who described it as having a "jerry built" look. "It just can't be real," he noted, adding that the wall was a "monument to human misery" that "splits the world in half like a melon". He recalled how on the western side German children played tag in the shadows of tank traps while on the other side children stood "dull-eyed and pinch-faced in darkened doorways - wondering how one learns to laugh". As East German guards looked at him through their binoculars, Schulke observed recent East German escapees in West Berlin standing near the wall and signaling to friends and relatives back in East Berlin or waiting for relatives to appear. "One woman waited five hours to see her mother who never turned up," Schulke wrote. "Another couple stood by the River Spree, the girl crying softly, trying to catch a glimpse of her mother across the river." During Schulke's early coverage of the civil rights movement, he had a relatively balanced journalistic outlook and tried to see both sides, says Gary Truman, a long-time friend and former colleague. "But that faded quickly because he said that sometimes there is no other reasonable opposite view, there was only right and wrong," Truman says. "I think his coverage of the Berlin Wall stated immediately: this simply is wrong." Schulke saw both the wall and the civil rights movement as part of "a greater conflict over universal human freedoms," says Truman, who became the archivist of Schulke's photo collection after the photographer's death in 2008. "Similarities always exist in the artist's eyes." Schulke was far from alone in seeing the parallels between division in America and in Berlin. Even before the famous "Ich bin ein Berliner" speech by President John F Kennedy, his brother Robert Kennedy came to Berlin as US Attorney General in February 1962. "For a hundred years, despite out protestations of equality, we had, as you know, a wall of our own - a wall of segregation erected against Negroes," Kennedy said. "That wall is coming down."Source: BBC
Maxine Harraway
Maxine Harraway
United Kingdom
''Art is not what you see, but what you make others see. - Edgar Degas Maxine Harraway is a British artist based in Wiltshire who began her artistic career in London in her mid 40’s She is a multidisciplinary artist both painter and photographer. She has exhibited works both in London and the West Country Uk. Her work draws on her own emotional response to her surroundings and experience in life. Inspired by Gerhard Richter and the photographer Hiroshi Sugimoto, her work can vary from minimalistic to an energetic mix of colour. She applies layers and fragmentation both in her painting and often in her photography. Her use of simple materials from the home or the environment, or reverting to the use of specific angles in her photography, she draws the viewer in to examine the image and question its content and the message it conveys. Speaking on her own art she said: ''My hope is not always to please the eye but to stimulate the thought process. ''
Fred Herzog
Fred Herzog
Canada
1930 | † 2019
Fred Herzog devoted his artistic life to walking the streets of Vancouver as well as almost 40 countries with his Leica, photographing - mostly with color slide film - his observations of the street life with all its complexities. Herzog ultimately became celebrated internationally for his pioneering street photography, his understanding of the medium combined with, as he put it, "how you see and how you think" created the right moment to take a picture. Fred was born Ulrich Herzog in Stuttgart, Germany in 1930 and spent his childhood in Rottweil, Germany. He lost both of his parents during the war, and in 1946 Herzog went to work as an apprentice in his grandparents' hardware store. Disillusioned by the ravages of war and the situation in Germany, he emigrated to Canada in 1952 and settled in Vancouver in 1953. During the next several years. Herzog studied photography magazines while working aboard ships for the CPR steamship line, and in 1957 he was hired as a medical photographer at St. Paul's Hospital. In 1961, he became the head of the Photo/Cine Division in the Department of Biomedical Communications at UBC, and in 1970 was appointed Associate Director of the Department. Herzog was also hired as an Instructional Specialist in the Fine Arts Department at Simon Fraser University in 1967, and in 1969 became an instructor in the Fine Arts Department at UBC. Herzog had a walking route through Vancouver that enabled him to build friendships with other photographers and neighborhood residents and gave him an acute understanding of the daily life and soul of Vancouver. Over the course of several decades, Herzog produced a substantial body of color photographs, taking urban life, second-hand shops, vacant lots, neon signage, and the crowds of people who have populated city streets over the past years as his primary subjects. Herzog's use of color was unusual in the 1950s and 60s, a time when fine art photography was almost exclusively associated with black and white imagery. Additionally, Herzog photographed using Kodachrome slide film which was notoriously difficult to print. For decades he remained virtually unknown until his mid-seventies when printing technology caught up, allowing him to make archival pigment prints that matched the exceptional color and intensity of the Kodachrome film. A retrospective exhibition, Fred Herzog: Vancouver Photographs, was held at the Vancouver Art Gallery in 2007 and was the first major recognition of Herzog's body of work. Herzog exhibited his work both in Canada and internationally, including the exhibitions Fred Herzog: Photographs, C/O Berlin, Germany (2010), Fred Herzog: A Retrospective, Equinox Gallery, Vancouver (2012), Eyes Wide Open! 100 Years of Leica Photography, Haus der Photographie, Hamburg, Germany (2015), Photography in Canada, 1960-2000, National Gallery of Canada, Ottawa (2017), and many others. In 2010 Herzog received an Honorary Doctorate from Emily Carr University of Art and Design, and in 2014 he received the Audain Prize for Lifetime Achievement in the Visual Arts. An artist profile on Herzog was featured on the Knowledge Network for the series Snapshot: The Art of Photography II in 2011. In 2014, Herzog's photograph Bogner's Grocery (1960) was released as a limited edition stamp as part of Canada Post's Canadian Photography Series. Herzog died on September 9, 2019 at age 88.Source: Wikipedia
Deba Prasad Roy
Deba Prasad Roy
India
I was born in the year 1952 and clicked my first photograph in the year 1968 with an Agfa CLICK III camera. Then I used Agfa ISOLI 2 for some years. In 1992 I bought Pentax K 1000. & NIKON film cameras till 2008. I was a member of “Photographic Association of Bengal” since September 2003 to March 2012. I acquired a bit of proficiency in photography following the senior photographers of the club (not in age), who are entitled to write distinctions approved by The International Federation of Photographic Art (FIAP), & The Photographic Society of America (PSA). In this period I have participated hundreds of FIAP & PSA approved Salons and other photographic competitions. After my official retirement from Banking Service, I engage myself as a Freelance Documentary & Travel photographer to pass my retirement holidays and as a passionate and serious photographer ”Participated and still participating in photography competitions throughout the world and try to win prizes and recognition.. I am a professional photographer from my heart (Not as those who sell their photographs for their livelihood or those who are working as an employee in any organization.). I never sold a single photograph in my livelihood i.e. for money. So the meaning of a professional photographer is different to me. A NOBLE MISSION A NOBLE MISSION is partially a story of economic exploitation by the employers worldwide in underdeveloped and developing countries and simultaneously deliberate callousness and negligence of the Government and its agencies make this labor force vulnerable in the hands of the entrepreneurs. The other side of the story is the dedication of the two women teachers; their voluntary service to provide a minimum education to those historically illiterate students, no one in the previous generations of them including their parent got any elementary education in any school. We should also keep in mind the economic sacrifice of the teachers, in these days time is money, if they teach any other students in the society they are definitely eligible for remuneration and may get a chance to uplift their own economic status. That is the point which impressed me a lot. PLASTIC RECYCLING AND ENVIRONMENT Plastic pollution is a major global phenomenon that has crept up on us over the decades, and it really requires a global and comprehensive solution that includes systemic rethinks about usage and production. While carbon emissions and water use are pretty firmly embedded in the consciousness of most organizations, the use of plastic generally is not. But campaigners and scientists are increasingly sounding the alarm over the amount of plastic that is used wastefully (think of single-use drink bottles and packaging materials), which ends up as trash in rivers and oceans. Many say that plastic pollution has swelled into a major threat for the world’s oceans and for the global environment as a whole. Here is why: About 300 million tons of plastic is produced globally each year. Only about 10 percent of that is recycled. In other words, because plastic is inexpensive, lightweight and durable, virtually every industry — be it retailing, manufacturing or logistics — loves it. Because it is light and cheap, and because it is so durable, it does not “go away.” Plastic accumulated over half a century is now out there. That could mean reducing wasteful use; collecting, reusing or recycling plastic trash; stepping up the use of recycled plastic or of more easily biodegradable materials; and modifying product designs to minimize plastic use. There by we could leave our world as habitable for our future generations.
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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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