CHRISTINA KRUSE

BORN Buchholz, Germany

LIVES AND WORKS New York, New York

Upon the completion studies in science and sociology at secondary school, Kruse began her career in the fashion industry in 1994, living first in Milan, and then Paris and New York. In 1995, she bought a Mamiya camera and began the first of her illustrated journals or "Reisebuchs" a series of mixed media notebooks chronicling her world travels and composed of collages, drawings, writings in several languages and photographic self-portraits. . As an artist, working primarily in mixed media and photography, she has shown in New York, London, Paris, Berlin and Hamburg. In 2005, she received an award from GLAAD for best emerging artist in photography.

Her recent works have grown both larger in scale and considerably more complex, ranging from conceptual video productions to sculpture in wood and aluminum, a series of life-sized abstract print works, and a series of monochrome canvas in mixed media.

CK :

From a very young age on I have always been fascinated by how things are built. The construction of machinery, buildings, bridges and cars or the hierarchical structure of nature. Eventually, I realized everything is subject to a functional organization and I found myself looking at friends, family, personal events or even a conversation in similar ways. How would their or the events structure look like if I could build it?

Whenever I begin new work, my first question is ‘What kind of structure am I dealing with?’ And then, what happens when it is shaken, tested, or challenged by sudden and unexpected events, or the simple passage of time? And is there some process of seeking equilibrium by which it tries to remain itself or simply stay intact? What does this process look like? And how is this process affected if the structure in question is intrinsically unyielding, malleable, labile or fragile? What part does balance play in the moves that are made to keep itself or its identity intact?

Accordingly, my choice of media is in part a function of my sense of a structure's own particular qualities and how I think I can best convey abstractly the dynamics of its particular story.

I have frequently chosen to work with white, grey and black— reception, resistance, and resignation or acceptance are represented across this spectrum. Color is employed to suggest either the acceptance of or understanding of an emotionally charged event– rather more than the event itself. Geometric shapes, or derivatives of such, play a part in expressing what I regard as universal.