Kirstine Reiner Hansen:Art Interview

By Angela McAdrian
This month, we are excited to bring you an interview with Danish born artist Kirstine Reiner Hansen. We here at Joule magazine are such fans of Kirstine’s work. Her surrealistic and stylish paintings pull you in and the richness of depth and the ambiguity of her works are perfect for contemplation. Kirstine’s work has been exhibited in many gallery shows, including Dolby-Chadwick Gallery in San Francisco, Manifest gallery in Cincinnati, and Zhou B art gallery in Chicago.

What’s the inspiration behind your latest work? It’s quite a difference from what we’ve seen of your work a few years ago.

The last couple of years I’ve focused on the collage inspired paintings. I create collages that work as a visual starting point for the paintings that are done all in oil paint. The sartorial nature of some of the new pieces is probably evoked by my fascination for tailoring, fashion and drapery. My mother was a sometime tailor and fashion designer and I grew up watching her creating patterns and clothing. That, and a stint as a model in London when I was younger, it made an impression. Also, while studying old master works at museums, I was particularly drawn to the meticulous attention given to the details of drapery in renaissance paintings.For a long time, one might say, I’ve been moonlighting with doing collage and abstract work. The series of imagined, satirical self portraits ‘Facial Fallout’ you saw in 2012, that mapped/transformed imagined characters onto my own image, were in many ways a bridge to my current work. They were a departure from doing strictly observational paintings.

I’m loving the surrealism and color. It feels like a sense of darkness or moodiness is conveyed as well in the pieces. Is that something you were aiming for,or was there any aim in particular?
The arbitrary combinations of color and texture that comes up when playing with collage is pretty exciting to me. It gives me more reason to experiment. It’s all about surprising yourself, like drawing a hand of cards, then having to play it.
I like when there’s a certain edge in the work, but am not consciously aiming for darkness, moodiness. Maybe because I was studying the old masters for so long, it rubs off. Or perhaps it’s being from Scandinavia, there’s a melancholy in the people, it’s dark there. I’m very fond of greyish hues, sombre colors.

What are some upcoming things for you and what projects are you working on now?
My solo show ‘Reconfigurator’ at Jack Fischer Gallery/Minnesota Street Project in San Francicso opened the other week. This November I’ll be in a group show in Berlin with artnow Gallery. Pretty excited about showing my newest work at these two venues.

What’s the last gallery show you saw?
Swimmin’ in the Playground, at Upper Playground’s FIFTY24SF Gallery in San Francisco. All the shows at Minnesota Street Project, SF.

What’s your favorite place to see art?
Chelsea in NYC, Minnesota Street Project in SF, Gemalde Galerie in Berlin, Louisiana Museum in Denmark.

Do you have a favorite book?
Can’t say I have a favorite book, there are too many. Have a thing for the classics; Dr. Jekyll and Mr. Hyde, Oscar Wilde, Sherlock Holmes… I like Martin Amis a lot.

What’s your art world pet peeve?
As much as I enjoy going to the big art fairs, I think it puts a lot of pressure on smaller and midsize galleries to partake at great expense. It’s important for collectors to develop relationships to the galleries and artists locally. Maybe that gets lost a bit when you also have to travel to the art fairs around the world.

What do you love about working with oils?
Oil paint is the ultimate medium. It can mimic any material and sky is the limit to the effects you can create, from thinnest glaze to impasto. The colors have more depth than say acrylic.

Has there been a seminal experience in your career,or influencing your career as an artist?
Moving to New York. To actually be there to see all the art in person, to have the great galleries and museums at your fingertips made a big impact.


Storage Control No.2,2016,10X14 in,oil on paper


Macho Chinos,2016,39X29 inches oil on paper


Starstruck,2016,39X29 in,oil on linen


Fractured Blonde,2016,16X16 in,oil on linentelevision_1500px

Television,2016,oil on paper,11X14 in

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