In recent years, Burgers has developed a cyclical process that moves fluidly between painting and collage. She often begins with large-scale canvas works, which she photographs in high resolution and uses as the basis for new compositions. Onto these smooth printed surfaces, she paints, cuts, and collages—fracturing and reassembling her own imagery into entirely new mixed-media works. The process, simultaneously playful and exacting, reflects Burgers’ ongoing dialogue between control and chaos. She describes this approach as “managing the chaos,” generating multiple possibilities and defining them only in hindsight. Each collage becomes a layered puzzle of gesture and texture, where the original source image may be obscured beyond recognition. Rather than functioning as copies, the printed reproductions act as fresh ground for exploration, their shifts in color and surface opening new avenues into abstraction and spatial illusion.
While Burgers’ work has long drawn from the language of florals, her botanical references now often dissolve into abstraction. Once literal, these forms have evolved into vehicles for color, emotion, and structural force—embodying strength rather than fragility. For Burgers, meaning resides not in subject matter but in the medium itself: the dynamic interplay of color, form, and material as they collide, resist, and transform. Embracing imperfection as essential to creation, she allows her works to remain open, unresolved, and alive—spaces where chance and intention, discipline and freedom, coexist in continual dialogue.