GEORG BURWICK - Traditional

TRADITIONAL MEDIA

These collected works showcase my expertise and training across diverse artistic media, including photography, drawing, painting, and sculpture. My extensive training and experience encompass mixed media installation, additive and subtractive sculpture techniques, mold making, the foundry lost wax process, wet darkroom photography, digital photography, and video. This amalgamation of skills enables me to adapt naturally to various creative spaces such as galleries, museums, public spaces, and online.

PHOTOGRAPHY

My interest in photography and darkroom techniques began in high school and continued throughout my academic career, eventually becoming a permanent part of my artistic practice. I have maintained a wet darkroom while honing my digital photography skills and melding the traditional and new media techniques. After college, I worked for various photographers, gaining the experience necessary to use large-format cameras in portraiture and architectural photography. Later, I joined the staff at the UCR/California Museum of Photography, becoming part of an institution I frequented during college. This position allowed me to become intimately acquainted with an elite group of photographers, including Herbert Quick, who worked directly with Ansel Adams, and photographers from the Legacy Project Collaborative, such as Mark Chamberlain, Douglas McCulloh, and Jerry Burchfield, as well as countless others who exhibited at the UCR/CMP.

ILLUSION OF EXPERIENCE: glass, Solid ink print

ILLUSION OF EXPERIENCE: tree, Inkjet print

ILLUSION OF EXPERIENCE: flowers, Solid ink print

ILLUSION OF EXPERIENCE: jar, Solid ink print

ILLUSION OF EXPERIENCE: car, Solid ink print

REMEMBER: Images of the Holocaust, Gelatin silver print

After completing required foundation art courses at Pitzer College, I became keenly interested in traditional figurative sculpture. I learned from faculty that were classically trained and included artists such as Aldo Casanova, a Prix-de-Rome scholar, and Enrique Martinez Celaya, whose paintings have been featured in collections such as the Tate Gallery in London. Both hold degrees outside the field of art — chemistry and physics — and their interdisciplinary background was reflected in their expressions of classical techniques. The melding of traditional figure studies with modern techniques and technology has heavily influenced my personal work.

During my post-undergraduate years I sought out other classically trained artists such as Martine Vaugel, two-time winner of the International Rodin Grand Prize Monumental Figure Competition. After taking one of her summer courses, I later had the opportunity to intern with her. Her influence on my work helped me move forward in my style and technique and led me to be accepted by the New York Academy of Art in 1999.

The same year, I applied to a number of other graduate schools and decided to follow a more interdisciplinary approach to my art practice, inspired by my undergraduate instructors. My future projects were thus built on a solid foundation of classical training, and influenced heavily by digital and conceptual art.

SCULPTURE