Magical. Mystical. Meticulous.
These are just some of the common descriptors for Elijah Burgher’s arresting work. The artist (b. 1978 in Kingston, NY) creates intricately executed drawings and mixed media works that blur queer imagery with mystical iconography and ritualistic themes. Before Burgher’s work, I had never considered the confluence of queerness and the occult, but operating as they do on the fringe of bourgeois society (like the avant-garde), and relying on coded forms of expression and interpretation, the queer and mystical make logical bedfellows.
Burgher works in both abstraction and mixed imagery of portraits overlaid with abstraction. There is something holy and innocent about his portraits, and his colorful language of abstraction, called sigils, are “private motifs readable only to the maker unless shared with others and, even then, only for as long as they can be remembered,” writes curator Claire Gilman. “A product of twentieth-century occult magic (although variations have been used since the Neolithic era), sigils were adopted by the artist and his friends ten years ago as a way of encoding queer desire. In this sense, they relate to the queer community’s privileging of secrecy and private initiation.” But in their vibrant display, the sigils do not alienate the viewer, but invite us to investigate their meaning.
For years the artist’s preferred medium was drawing–a medium that, with its gestural presence and record of time, is a ritual of creation itself. As a medium typically treated as an “exercise” or preparatory stage to painting, Burgher feels that drawing deserves more credit as an end in and of itself: “A drawing’s content is always held at arm’s length, not only because of the structure of representation, but because of the aforementioned promise of application–in the future and elsewhere, in real time and space, in life,” the artist wrote in 2013. “This is drawing’s link to magic.”