The French author and photographer Hervé Guibert once wrote “My body, due to the effects of lust or pain, has entered a state of theatricality, of climax, that I would like to reproduce in any matter possible: by photo, by video, by audio recording. It’s a laboratory that I offer up as a performance…”. He wrote this knowing his life was coming to an end due to his HIV/AIDS condition. Guibert wrote about photography, particularly about the photographs that are not taken. He was interested in the psychology beyond the frame of an image.

Guibert pooled his according thoughts and writings in a collection of essays, titled Ghost Image. Perhaps the most affecting text relates to the day on which Guibert’s mother, usually shy in front of a camera, agreed to have her portrait taken. She was forty-five and stood, as we are told, on the threshold between beauty and old age. She allowed her hair, mostly worn up in tight curls, to be taken down, washed and combed by her son. The intimacy of this moment is palpable, and it becomes clear that on this day mother and son were actually collaborating with one another to create a special moment in their relationship. However, Guibert failed to properly load the camera and the fruits of their shared endeavor resulted in nothing more than a blank slate of film.

Using painting, drawing, and printmaking, Elijah Burgher (b. 1978) works at the crossroads of representation and language, figuration and abstraction, and the real and imagined. Drawing from mythology, ancient history, the occult, and ritual magick, Burgher cultivates a highly intimate code of sigils and emblems imbued with magical power to investigate the personal and cultural dynamics of desire, love, subcultural formation, and the history of abstraction. Burgher lives and works in Berlin. He received an MFA from the School of the Art Institute, Chicago and a BA from Sarah Lawrence College in Bronxville, New York. His work was featured in Scrivere Disegnando: When Language Seeks Its Other at Centre d'Art Contemporain Genève, Geneva, Switzerland, 2020; Drawn Together Again, FLAG Art Foundation, New York, NY, 2019; For Opacity: Elijah Burgher, Toyin Ojih Odutola, and Nathaniel Mary Quinn at the Drawing Center, 2018; Elijah Burgher: Four Paintings, LAXART, Los Angeles, CA, 2018; the Whitney Biennial, Whitney Museum of American Art, New York, NY, 2014; Burning Down the House, the Gwangju Biennale, Gwangju, Republic of Korea, 2014; and The Temptation of AA Bronson, Witte de With Center for Contemporary Art, Rotterdam, Holland, 2013, among others. He has completed residencies at the Skowhegan School of Painting and Sculpture and the Fire Island Artist Residency. His work has been reviewed in The New York Times, Art in America, Art Review and Artforum, among others. 

Combining painting, drawing, sculpture, and writing, Daniel Correa Mejía (b. 1986) deftly mines imagery from his own subconscious to mythologize the landscape of his interior world. His highly symbolic figures personify various emotional states, becoming one with their scenery as contemporary society fades away and sacred, primordial knowledge is uncovered. Juxtaposing rich ultramarine with vibrant red on rough jute canvas, Correa Mejía invokes the complimentary nature of masculine and feminine energies to summon the divine power of contrasting forces, simultaneously grappling with the process of grief and loss, rediscovering sanctuary within the power of the human imagination and the interconnectivity of our shared planet. The artist was born in Medellín, Colombia and currently lives and works in Berlin, Germany. His solo exhibitions include Soy el dueño de mi casa, P·P·O·W, New York, NY; Cuando el depredador está lejos: los pájaros canta, Maureen Paley at Studio M, London, UK; Lucrecia, mor charpentier, Paris, FR; Soy hombre: duro poco y es enorme la noche, Fortnight Institute, New York, NY; Amor y Agua, Public Gallery, London, UK; and Die Klarheit, Colombian Embassy, Berlin, Germany. His work has been included in group exhibitions at mor charpentier, Bogotá, Colombia; Maureen Paley, London, UK;  P·P·O·W, New York, NY; Kunstverein Meissen, Meissen, DE; Museo de Arte Moderno de Medellín, Medellín, Colombia; Mendes Wood DM, São Paulo, Brazil, and New York, NY; Pony Royal, Berlin, Germany; Fortnight Institute, New York, NY; and Galerie Crone, Berlin, Germany, among others. His work has been featured in articles in Juxtapoz, Art Viewer, and Artnet, among others. A solo exhibition of new work by Correa Mejía was on view in Fall 2024 at mor charpentier in Bogotá, Colombia.