Nadine Christensen's practice encompasses painting, installation and drawing and has comprised an ongoing investigation into natural phenomena. She draws on diverse sources including design and illustration, architecture, new and arcane technologies, science fiction, animation, tall stories and curiosities to engage the changing possibilities and conditions of light and perception. Montage style paintings combine Christensen's highly recognisable gradational and flat colouring, 3D rendering and trompe l'oeil effects while the imagery itself veers from representational and identifiable elements toward pure abstraction.


Christensen's work also explores the desire to map and understand our environment as well as the role of narrative and story telling in the unfolding of information throughout contemporary culture. Recent work samples from small moments in her larger paintings and utilises aspects of external surfaces and everyday objects such as piles of dirt, tables, ropes and chains that occupy the juncture between the real and the imagined.

Every decision is deliberate. The edges are sharp, except when they’re not; the surfaces technically flawless, except when the paint is sponged on or scratched away. Everywhere there are overlaps, holes, objects viewed through gaps. We end up looking  through the paintings, trying to gauge their ground. There’s a missing drawer-handle in Wardrobe I can’t stop looking at: a space the size of a pin-prick that somehow has the force of a black hole. Flies are a repeated motif; also objects that fly (kites, flags); also blue painters’ tape, ribbon-like but stuck down, painted so precisely as to require several looks, just to check.

Anna Dunnill, un Magazine, December 2018.