Bobbie Burgers is a Canadian artist known for her vibrant, process-driven explorations of color, gesture, and abstraction. Burgers has shown work internationally in Sweden, China and the across the US, recently at the Dallas and Toronto Art Fairs. Today, her works are in many notable collections, including Global Affairs Canada, the Royal Bank of Canada, Vancouver General Hospital, Nordstrom’s New York and Norwegian Cruise Lines. This exhibition is running concurrently to a museum show of primarily works on paper and wall sculptures at the Burnaby Art Gallery in Vancouver, which is an extension of the body of work present in No Dress Rehearsal.
Bobbie Burgers | No Dress Rehearsal
Upcoming exhibition
JACKSON HOLE, WYOMING – MAYA FRODEMAN GALLERY is pleased to present No Dress Rehearsal, a solo exhibition with artist Bobbie Burgers, on view at the gallery's downtown location from December 19th, 2025 through February 8th, 2026. An opening reception will be held Friday, December 19th from 5 to 7pm. All are welcome to attend.
Known for explorations of color, materiality, and form, Bobbie Burgers expands her established painterly language into an environment of illusion in No Dress Rehearsal. The exhibition centers on Burgers’ trust in immediacy – the instinctive act of making without premeditation. Each work begins as an unplanned gesture, an improvisation in acrylic, oil bar, spray paint, pastel, or collage that unfolds through intuition rather than planning. “Every piece is a leap of faith,” Burgers writes. “There is no perfect run-through, no fixed script – only the act of creation itself, immediate and irretrievable.”
Over the past several years, Burgers has developed a cyclical practice that moves between painting and collage. She begins by creating large-scale paintings on canvas, which she then photographs in high resolution to use as the basis for new compositions. Onto these smooth, printed surfaces, she paints, cuts, and collages – breaking apart her own imagery to reassemble into entirely new mixed-media collages. The process, at once playful and exacting, mirrors Burgers’ ongoing dialogue between control and chaos. She describes it as “managing the chaos,” creating multiple scenarios and defining them only in hindsight. Each collage is a visual puzzle of layered gestures and textures, where the original source is often obscured beyond recognition. Far from functioning as copies, the printed reproductions become new grounds for exploration, their subtle shifts in color and surface generating momentum that allows Burgers to open fresh windows into abstraction and construct three-dimensional illusions that inform her painting practice.
While Burgers’ work has long drawn on the language of florals, in No Dress Rehearsal the botanical references dissolve into abstraction. Her florals, once literal, now function as vehicles for color and emotion, embodying strength rather than fragility. For Burgers, the work is no longer centered on subject matter, but on the medium; the dynamic interplay of color, form, and material as these elements interact, collide, and evolve. Burgers embraces imperfection as essential to creation, and the resulting works embody faith in process and in the beauty of the unresolved, allowing for an open-ended conversation between chance and intention, discipline and freedom.

