My photography is informed by having been a painter since the early 70’s. That practice influences the color, atmosphere, space, and organization. It determines the purpose of my photographs.
It is always about the landscape. Initially, the camera served as a vehicle for visual notations on the environments I explored throughout the world – a reference tool for my large-scale paintings.
But, beginning in 2000, Photography became an end in itself, another way to respond – providing an alternate mode of investigation resulting in atypical views where nature is abstract, ambiguous – often aerial and sometimes mysterious. The lens allows for close examination of the multifaceted, intricate structures of nature, movement and light in real time. It can also reveal broad, expansive, vertiginous vistas.
My artistic practice is situated at the intersection of art and science; focused on issues of climate change. This past year I participated in expeditions to Antarctica and the Arctic Circle. I took thousands of photographs from the air, sea and ground, discovering compelling and seductive beauty everywhere. I intend this series to also reveal the consequence of record breaking rapid ice melt at either end of our globe which is frightening and could be catastrophic. This body of work represents the culmination of years of study and collaboration with glacial geologists throughout the world. They are organized into two portfolios: Polar Investigations North and Polar Investigations South.
Diane Burko’s first suite of mages were taken from slides of prior flights seeking landscape imagery. That suite of 9×12 inch Iris prints led to using a Fuji 4 x 5/6 medium format camera and scanning the film to create larger 24×30 inch images. Since 2004, digital SLR’s have been her mainstay. She currently uses a Canon EOS 5 Mark III and Mark IV, both with a 24-105 lens, as well as a Sony NEX VII.
All prints prior to 2010 were printed on German Etching Hahnemuhle. Since 2010, she uses Canson 100% Rag.
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