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Win a Solo Exhibition in June 2026 + An Exclusive Interview!
Win a Solo Exhibition in June 2026 + An Exclusive Interview!
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Marco Gualazzini
Marco Gualazzini
Marco Gualazzini

Marco Gualazzini

Country: Italy
Birth: 1976

Born in Parma in 1976, Marco Gualazzini began his career as a photographer in 2004, with his home town's local daily, La Gazzetta di Parma. His works include reportage photography on microfinance in India, on the freedom of expression in Myanmar, on the discrimination of minorities in Pakistan.

For the last few years he has been covering Africa extensively. He devised and took part in the creation of a documentary for the Italian national TV network RAI on the caste system in India, which has been selected at IDFA- The International Documentary Film Festival Amsterdam, and has been awarded with the Best Camera Work Award at the Aljazeera International Documentary Film Festival 2014. Gualazzini published in national and international titles and he has received numerous accolades, including the Getty Images Grant for Editorial Photography, the PDN and the World Press Photo.

Represented by CONTRASTO Agency Resilient is his first book and it's published by ContrastoBooks

PUBLICATION:
The New York Times, GEO, Al-Jazeera, Paris Match, LIGHTBOX- TIME magazine, Courrier International, L'Express, 6Mois, Internazionale, L'Espresso, InsideOver, CNN, M (Le Monde), Der Spiegel, The Sunday Times Magazine, Newsweek Japan, and Vanity Fair.

AWARDS:
Nomination award HPA2011- the Humanity photo awards 2011
Finalist CGAP 2011- Microfinance Photograpy contest
Short-Listed, premio internacional de fotografia humanitaria Luis ValtueÑa 2011
Short-Listed 3rd Lumix Festival for Young Photojournalism, Hannover 2012
Silver Medal, category press-war, Prix de la Photographie 2013
Premio giornalistico Marco Luchetta- Miran Hrovatin 2013, 1st Prize
Getty Images Grants for Editorial Photography Recipient 2013
Short Listed Premio giornalistico Internazionale Marco Luchetta - Miran Hrovatin 2014
Lucie Fondation, Photo Taken Scholarship Recipient 2015
Winner in PDN Photo Annual photo contest 2016
Final 100 to The Other Hundred Educators, The Other Hundred 2016
Photographer of the year All About Photo Awards, 2017
Short Listed - Premio giornalistico Internazionale Marco Luchetta 2017
Wiki Loves Africa, 2nd Prize
All About Photo Awards 2019, 4th Prize
Wiki Loves Africa, 1st Prize
World Press Photo 2019 Photo Contest, Environment, Stories, 1st Prize

EXHIBITIONS & SCREENINGS:
Palazzo Pigorini, Collettiva sulla città con i fotografi NEOS, Parma, Italy, 2009
Galleria d'arte Camera Sedici, Storie in tre scatti, Milano, Italy, 2010
FoFu Phot'arte, Festival internazionale fotografico, Fucecchio (FI), Italy, 2011
Medicos del Mundo, premio Luis ValtueÑa, Madrid, Spain, 2011
The Humanity photo awards, Memories of Mankind VII, con il patrocinio dell' UNESCO, Beijing, Cina, 2011
3rd Lumix Festival for Young Photojournalism, Hannover, Germany, 2012
Angkor Photo Festival, Angkor, Cambodia, 2013
Les Rencontres d'Arles, Screening, Arles, France, 2013
Visa pour L'image, Screening, Perpignan, France, 2013
'Italy. Another View' Vadehra Art Gallery, India Art Fair, NSIC Exhibition Grounds, New Delhi, India, 2014
One Day in Africa - Spazio Oberdan, Milan, Italy, 2014
"One World" - Photofestival Horizonte, Zingst, Germany, 2014
Angkor Photo Festival, Screening, Angkor, Cambodia, 2015
World Humanitarian Summit, Istanbul, Turkey, 2016
Pune Biennale, Pune, India, 2017
Visa pour l'image, Screening in Campo Santo, Perpignan, France, 2017
Spazio Forma Meravigli, solo exhibition , Milan, Italy, 2019
Palazzo Pigorini, solo exhibition , Parma, Italy, 2019
World Press Photo, World Wide, 2019
RESILIENTI2020 - Installation Art Città di Parma, Parma, 2020

Selected Books on Available on Amazon
Resilient
Resilient
Marco Gualazzini

Agency

CONTRASTO Agency

Websites

www.marcogualazzini.com

@marcogualazzini

 

Selected Books

Resilient
Resilient
Marco Gualazzini

Inspiring Portfolios

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More Great Photographers To Discover

George Byrne
George Byrne
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George Byrne creates large-scale photographs that depict everyday surfaces and landscapes as painterly abstractions. Borrowing from the clean, vivid clarity of modernist painting, he also references the New Topographics photography movement via a subject matter firmly entrenched in the urban every day. Born in Sydney in 1976, Byrne graduated from Sydney College Of The Arts in 2001, travelled extensively, and then settled in Los Angeles in 2011 - where he now lives and works. George's work resides in numerous international collections and he is represented by galleries in the USA, Canada, Australia, Taiwan, Norway and has his first solo show opening in Mumbai, India in September 2020. More about Post Truth Exclusive Interview SYNTHETICA at Show Gallery
David Oliete Casanova
David Oliete Casanova
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Keliy Anderson-Staley
Keliy Anderson-Staley
United States
1977
Keliy Anderson-Staley was raised off the grid in Maine, studied photography in New York City and currently lives and teaches photography at the University of Houston in Texas. She earned a BA from Hampshire College in Massachusetts and an MFA in photography from Hunter College in New York. Anderson-Staley’s tintype portrait work was awarded a New York Foundation for the Arts Fellowship and a Puffin Grant. She participated in the Bronx Museum AIM residency program in 2007, the Light Work residency and fellowship in 2010, and the Bakery Photo Collective in Westbrook Maine in 2012. She received a grant in Summer 2011 to prepare a solo exhibition of her series of tintype portraits [hyphen] Americans at Light Work in Syracuse, NY. Her color series about back-to-the-landers in Maine, Off the Grid, was one of five runners-up for the Aperture Portfolio Prize (2009). Off the Grid received the grand prize at the Joyce Elaine Grant exhibition in Denton, TX in 2009 and the Arthur Griffin Award from the Griffin Museum of Photography in 2010. The project was also a finalist for the Duke Center for Documentary Studies/Honickman First Book Prize in 2008. She also recently received funding for her project, Imagined Family Heirlooms via Kickstarter, a crowd-funding website in 2011. Her photographs are in the permanent collections of the Library of Congress, Akron Art Museum, Cedar Rapids Museum of Art, Portland Museum of Art (Maine), and Museum of Fine Arts, Houston. She was the recipient of a New York Foundation for the Arts Fellowship, a Puffin Grant, a fellowship from the Howard Foundation and the Carol Crow Fellowship from the Houston Center for Photography. Her work published in a solo issue of Light Work’s Contact Sheet and has been shown at the National Portrait Gallery of the Smithsonian, Portland Museum of Art, Akron Art Museum, Bronx Museum of Art, Southeast Museum of Photography and the California Museum of Photography, as well as at a number of galleries around the country. Anderson-Staley has been making wet plate collodion tintypes and ambrotypes for ten years. Her fine art and editorial work has appeared in a number of magazines, including Photo District News, New York Magazine, Art and Auction, Hemispheres Magazine, Camerawork, Contact Sheet, Conde Nast Traveler and Esquire Russia. Online, her work has been featured on Flak Photo, Conscientious, Fraction Magazine, PetaPixel, Ahorn Magazine and Daylight Magazine. Her series of tintype portraits was published in 2014 under the title On A Wet Bough by Waltz Books.Source: Catherine Edelman Gallery
Isabel Mombaerts
Isabel Mombaerts
Belgium
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Isabel Mombaerts is a Belgian photographer and dedicated school educator, whose lifelong commitment to the arts is woven through almost every aspect of her life. From her earliest studies to her current work, art has remained her compass, honing her unique photographic voice and securing several awards along the way. These accolades underscore her deep passion for capturing the world’s beauty and complexity with honesty and insight. In the classroom, Isabel instills this vision in her students, encouraging them to approach the world with curiosity and an open mind. Her photography reveals life’s raw spontaneity, whether through the dynamic energy of street scenes, the layered narratives of documentary work, or the intimacy of portraiture. By stepping back as a silent observer, she allows her subjects to express their truest selves, creating images that resonate with the profound and timeless connections among people. Through each portrait, she bridges herself to her subjects, crafting powerful, soulful snapshots that capture the intricate, quiet moments that define what it means to be human. Statement The most thrilling aspect of photographing humans is the unpredictability. It’s about capturing the gift that emerges when you’re truly observing
Sharon Tribelsky
Sharon Tribelsky
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Graeme Purdy
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Isa Leshko
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Gisèle Freund
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Gisèle Freund was a German-born French photographer and photojournalist, famous for her documentary photography and portraits of writers and artists. Her best-known book, Photographie et société (1974), is about the uses and abuses of the photographic medium in the age of technological reproduction. In 1977, she became President of the French Association of Photographers, and in 1981, she took the official portrait of French President François Mitterrand. She was made Officier des Arts et Lettres in 1982 and Chevalier de la Légion d'honneur, the highest decoration in France, in 1983. In 1991, she became the first photographer to be honored with a retrospective at the Musée National d’art Moderne in Paris (Centre Georges Pompidou). Freund's major contributions to photography include using the Leica Camera (with its ability to house one film roll with 36 frames) for documentary reportage and her early experimentation with Kodachrome and 35 mm Agfacolor, which allowed her to develop a "uniquely candid portraiture style" that distinguishes her in 20th century photography. She is buried at the Montparnasse Cemetery in Paris, France near her home and studio at 12 rue Lalande. Freund was born into a textile merchant family on 19 December 1908 to Julius and Clara (nee Dressel) Freund, a wealthy Jewish couple in the Schöneberg district of Berlin. Her father, Julius Freund, was a keen art collector with an interest in the work of photographer Karl Blossfeldt, whose close-up studies explored the forms of natural objects. Freund's father bought Gisèle her first camera, a Voigtländer 6x9 in 1925 and a Leica camera as a present for her graduation in 1929. In 1931, Freund studied sociology and art history at Albert-Ludwigs-Universität Freiburg, Breisgau, Germany; and from 1932-33 she studied at the Institute for Social, Sciences, University of Frankfurt under Theodor W. Adorno, Karl Mannheim and Norbert Elias (also known as the Frankfurt School). At university, she became an active member of a student socialist group and was determined to use photography as an integral part of her socialist practice. One of her first stories, shot on May 1, 1932, "shows a recent march of anti-fascist students" who had been "regularly attacked by Nazi groups." The photos show Walter Benjamin, a good friend of Freund, and Bertolt Brecht. In March 1933, a month after Adolf Hitler rose to power in Germany, Walter Benjamin fled to Paris on May 30, Gisèle followed him since she was both a socialist activist and a Jew. She escaped to Paris with her negatives strapped around her body to get them past the border guards. Gisèle and Walter Benjamin would continue their friendship in Paris, where Freund would famously photograph him reading at the National Library. They both studied and wrote about art in the 19th and 20th centuries as Freund continued her studies at the Sorbonne. In 1935, Andre Malraux invited Freund to document First International Congress in Defense of Culture in Paris, where she was introduced to and subsequently photographed many of the notable French artists of her day. Freund befriended the famed literary partners, Sylvia Beach of Shakespeare and Company, and Adrienne Monnier of Maison des Amis des Livres. In 1935, Monnier arranged a marriage of convenience for Freund with Pierre Blum so that Freund could obtain a visa to remain in France legally (they officially divorced after the war in 1948). In 1936, while Sylvia Beach was visiting the United States, Freund moved into Monnier and Beach's shared apartment and they became intimates. When Beach returned, she ended her intimate relationship with Monnier yet maintained a strong friendship with both Monnier and Freund. Freund finished her Ph.D. in Sociology and Art at the Sorbonne in 1936, and Monnier published the doctoral dissertation as "La photographie en France au dix-neuvieme siècle," under the La Maison des Amis des Livres imprint by Monnier. Monnier introduced Gisèle Freund to the artists and writers who would prove her most captivating subjects. Later that year, Freund became internationally famous with her photojournalistic piece, Northern England, which was published in Life magazine on December 14, 1936 and showed the effects of the depression in England. No magazine in France could publish color photographs at that time, so Freund's work with Life—one of the first color mass magazines—would start a lifelong relationship between the photographer and magazine. In 1938, Monnier suggested that Freund photograph James Joyce for his upcoming book, Finnegans Wake. Joyce, who disliked being photographed, invited Gisèle Freund to his Paris flat for a private screening of her previous work. He was impressed enough by Freund's work to allow her to photograph him, and over a period of three days, she captured the most intimate portraits of Joyce during his time in Paris. In 1939, after being "twice refused admission to Tavistock Square," Freund gained the confidence of Virginia Woolf and captured the iconic color photographs of the Woolfs on display in the English National Portrait Gallery. Woolf even "agreed to change her clothes to see which best suited the colour harmony and insisted on being photographed with Leonard (and their spaniel Pinka). In some of the prints, Woolf is pale and lined, in others smiling a little and more youthful. The background of fabrics and mural panels by Bell and Grant adds to the value of the images; this was the inner sanctum of the queen of Bloomsbury where parties were given and friends came to tea. Just over a year later the house was destroyed in The Blitz." On June 10, 1940, with the Nazi invasion of Paris looming, Freund escaped Paris to Free France in the Dordogne. Her husband by convenience, Pierre, had been captured by the Nazis and sent to a prison camp. He was able to escape and met with Freund before going back to Paris to fight in the Resistance. As the wife of an escaped prisoner, a Jew, and a Socialist, Freund "feared for her life." In 1942, with the help of André Malraux, who told his friends, "we must save Gisèle!," Freund fled to Buenos Aires, Argentina "at the invitation of Victoria Ocampo, director of the periodical Sur. Ocampo was at the center of the Argentinean intellectual elite, and through her, Freund met and photographed many great writers and artists, such as Jorge Luis Borges and Pablo Neruda." While living in Argentina, Freund started a publishing venture called Ediciones Victoria. She writes, "In reality, I started this for the De Gaulle government in exile where I was working in the Information ministry, volontairement without payment." She also founds a relief action committee for French artists and becomes a spokesperson for Free France. In 1947, Freund signed a contract with Magnum Photos as a Latin America contributor, but by 1954, she was declared persona non grata by the U.S. Government at the height of the Red Scare for her socialist views, and Robert Capa forced her to break ties with Magnum. In 1950, her photo coverage of a bejeweled Eva Peron for Life magazine caused a diplomatic stir between the United States and Argentina and upset many of Peron's supporters—the ostentatious photographs went against the official party line of austerity; Life Magazine was blacklisted in Argentina, and once again, Freund had to escape a country with her negatives. She moved to Mexico and became friends with Diego Rivera, Frida Kahlo, Alfaro Siqueiros, and José Clemente Orozco. In 1953, she moved back to Paris permanently. Over the life of her career, she went on over 80 photojournalism assignments, primarily for Life and Time, but also Du, The Sunday Times (London), Vu, Picture Post, Weekly Illustrated, and Paris Match, among others. From the 1960s onward, Freund continued to write, and her reputation as an important portrait photographer grew with each successive exhibition. Gisèle Freund is now celebrated as one of the best portrait photographers of the twentieth century: Upon her death, "President Jacques Chirac praised her as 'one of the world's greatest photographers."Source: Wikipedia Ms. Freund was one of Europe's most prominent photographers and a pillar among French feminist intellectuals after settling in Paris in the 1930s. Born to a wealthy Jewish family, she became a student activist who battled the rise of Hitler's national socialism. She studied sociology in Frankfurt but was forced to flee in 1933, escaping as police were about to arrest her. In Paris, Gisèle Freund pursued doctoral studies at the Sorbonne, where her enthusiasm for photography was met with skepticism. She met militant feminist writer Adrienne Monnier while browsing at La Maison des Amis du Livre, Monnier's book shop on the Left Bank. The shop was frequented by the likes of Simone de Beauvoir, Andre Gide, Ernest Hemingway, James Joyce, Jean-Paul Sartre and Paul Valery. Monnier became her lifelong mentor and companion, introducing her to the Parisian intellectual set and encouraging her to pursue photography. In 1935, Ms. Freund executed a widely acclaimed series of photographs, documenting the misery of British coal miners, and met Andre Malraux. Her portrait of the author of Man's Fate--wrapped in a trench coat with a cigarette dangling from his mouth--is among her most well-known photographs. Her use of color clashed with the prevailing style of retouched black-and-white studio portraits, but she persevered, saying color "was closer to life." Gisèle Freund specialized in conveying attitudes. She focused on hands, posture and clothing. Some of her most famous photographs appeared in Life and Time magazines. The Nazi invasion of France in 1940 interrupted her career. Gisèle Freund fled again, to southern France and later Argentina, where she worked until the war's end in 1945. She returned to France, where she earned an international reputation as the photographer of Jean Cocteau, De Beauvoir, Joyce, and Sartre, among others. Her works include Three Days With Joyce, a collection of black-and-white photographs showing the Irish writer with friends and family, and correcting proofs of his novel Finnegan's Wake. "Freund was involved in the lives of the artists and writers she photographed," said art critic Ann Cremin, who knew Ms. Freund. "She was more of a witness than a reporter." In later years, Gisèle Freund became well-known in her adopted country, winning the National Grand Prize for Photography in 1980. She took the official photograph at the presidential inauguration of Socialist Francois Mitterrand in 1981. She gave up photography in the mid-1980s.Source: Washington Post
Graeme Williams
Graeme Williams
South Africa
1961
I grew up in the whites-only suburbs of Cape Town, South Africa during the apartheid era when South African law decreed that 92% of the population were regulated to the status of second-class citizens. My interest in photography began at the age of twelve, but I soon realized that a Kodak Instamatic was never going to produce the results that I wanted. I worked for three years in a bookshop and eventually bought myself a Fujica ST701. It was a real thing of beauty; a single reflex camera with a basic zoom lens, that provided me with the means to control how light formed itself onto the surface of the silver halide film. Sunsets and silhouettes held my attention for a few months, but I had already begun to explore the complex tradition of photographic expression. Life Magazine was for me, at that time, the Holy Grail. Over the years, my enthusiasm for exploring the photographic medium has never diminished. My photographic momentum was temporarily diverted after school by parental pressure to obtain a 'proper' qualification. In my final school year, I was both the Dux scholar as well as a first-team sportsman, which resulted in me being offered a De Beers bursary to study Geology and Statistics at the University of Cape Town. After graduating, I broke the news to my unnerved parents that I was giving up this career path and instead of becoming a property photographer at the local newspaper. In the hierarchy of photographic jobs, this is very close to the bottom. My immediate aim was to gain access to unlimited amounts of film and the time to work on my own projects. In 1987 I began photographing a conscientious objector and medical doctor, Ivan Toms, who refused to comply with the apartheid government's military service requirements. He was sentenced to 21 months in prison. The essay highlighted the absurdity of the political system. Renowned photographer, David Goldblatt, took an interest in this work and this interaction led to a three-decade relationship in which he became both a mentor and a friend. The rights to my essay on Ivan Toms were bought by Life magazine the following year. Much of my work during this period was motivated by the desire to expose the social inequalities and racial divisions within my country. I eventually joined the strongly anti-apartheid collective, Afrapix, and later became a founding member and manager of the documentary collective, South Photographs. In 1989, the beginning of the end of apartheid was evident. I was eager to situate myself in a position that would afford me the best opportunities to witness the transition to democracy. I joined Reuters News Agency as a permanent stringer and for the next five years, I became immersed in the events, both violent and momentous, that led up to the inauguration of Nelson Mandela as president in 1994. Many of my photographs from this period have taken on a life of their own. The image of Nelson Mandela walking out of prison with his wife, Winnie, has been exhibited and published worldwide. In 2008, as Barack Obama fought John McCain for the presidency, Newsweek magazine ran a story asking each candidate to choose an image that best personified their worldview. Obama's team chose an image that I photographed in Thokoza township in 1991. Last year the same photograph became central in a high-profile image-appropriation dispute between me and New York artist, Hank Willis Thomas. There was a massive groundswell of support from colleagues and media from around the world. An amicable settlement was reached. Since 1994 I have concentrated on producing personalized and contemporary bodies of work that reflect this complex country and the continent as a whole. These essays have been shown in solo exhibitions in New York, London, Paris, Cape Town, and Johannesburg as well as numerous photo festivals around the world. (Including China, Singapore, Brazil, Cambodia, France, and the USA). I have been privileged to have been included in major international exhibitions showcasing contemporary South African photography; including Figures and Fictions at London's Victoria and Albert Museum, Apartheid and After at Huis Marseille in Amsterdam, Earth Matters at the Smithsonian in New York, The Rise and Fall of Apartheid at the ICP in New York and Being There, at the Louis Vuitton Foundation in Paris. Awards include the CAP Prize for Contemporary African Photography (Basel) in 2013 and the Ernest Cole Award (South Africa) in the same year. I have continued working on commissioned assignments and traveling to over fifty countries. My photographs have appeared on the cover of Time magazine twice, and have been published in The New York Times Magazine, National Geographic, Newsweek, Stern, and many others. Whilst working on my long-term projects, I try to bear in mind how the work will be exhibited and published. So, therefore, during the planning and photographing stages, I attempt to create a broad context for my essays, that includes a general look and feel while creating the space for each image to convey its individual complexity. This need to develop a dual awareness in my personal work has benefitted me from a long-term interest in designing and producing photobooks. I have created over 20 publications, some of them winning awards and many being shortlisted in dummy book competitions. During the past five years, I have felt a need to shift my attention from South Africa to the American social, political, and physical landscape. Some of my motivations for this change in direction have been outlined within the 'Plan' document. In 2016 I was granted a residency in the US by the Ampersand Foundation, giving me an opportunity to develop a body of work that interrogated the social strata within the greater community of Harrisburg, Pennsylvania. I designed and produced a book called, Diverging Dreamlines that included, portraits, urban landscapes as well as multi-image, digital, illustrations. The publication was chosen as "best of the show" in the Annual Photobook Exhibition at the Griffin Museum of Photography in Winchester, Massachusetts. The work was also included in the Unmasked exhibition at Axis Gallery, New York in 2017. Earlier this year (2019) I co-presented a paper, Over Time, at the International Psychoanalytical Association (IPA) Congress held in London. Four of my personal essays were incorporated into the presentation, allowing a psychoanalytical exploration into the parallels between this photographic record and South Africa's dynamics and process of change. I have participated in various mentorship programs, supporting students from South African photographic institutions: Tierney Fellowship winners from the University of the Witwatersrand (2018/2019) and the Market Photo Workshop (2015/2016). As well as candidates from the Photographer incubator Program in 2016. Learn more about Graeme Williams on videos: Victoria and Albert Museum Photography and Democracy South African Studios Dwell in Possibility opening Check out Graeme Williams's interview about his latest project America Revisited
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Interview
Exclusive Interview with Marijn Fidder
Marijn Fidder is a Dutch documentary photographer whose work powerfully engages with current affairs and contemporary social issues. Driven by a deep sense of social justice, she uses photography to speak on behalf of the voiceless and to advocate for the rights of those who are most vulnerable. Her images have been widely published in major international outlets including National Geographic, CNN Style, NRC Handelsblad, Volkskrant, GUP New Talent, and ZEIT Magazin. Her long-term commitment to disability rights—particularly through years of work in Uganda—culminated in her acclaimed project Inclusive Nation, which earned her the title of Photographer of the Year 2025 at the All About Photo Awards. She is also the recipient of multiple prestigious honors, including awards from World Press Photo and the Global Peace Photo Award. We asked her a few questions about her life and work.
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Exclusive Interview with Josh S. Rose
Interview
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
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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