Lemonade introduces the wonderful paintings of Nina Høgnæs.
Nina Høgnæs: ”I have a curtain from my childhood room that I have had for many years, until I decided to use it as a canvas,” Nina Høgnæs has said about a painting in her studio. It’s difficult for her to let go of things, so sometimes she uses fabric and items that hold a meaning to her in her art. Nina works from personal memories and emotions, but even if her pictures start on a personal note, they do not tell obvious stories and they are very far from the impulsiveness of the amateur. Nina is one of the few Danish artists who still master classic oil painting where the image slowly takes form, layer upon layer.
There is both craftsmanship and technique in Nina Høgnæs’ art. With a Bachelor’s degree from the Academy of Fine Arts in Bucharest and a Master’s degree in Visual Culture from the University of Copenhagen, her work ranges wide: From the highly conceptual to the plainly practical. “I work very methodically on my portraits. In my landscapes and my partly abstract paintings, I am more spontaneous. Intuition is a good thing, but solid technique is always mandatory”. Nina’s art holds many directions, and due to a long break from painting, she is currently experimenting, testing and rethinking. Next to her self-initiated projects, she does portraits on commission and has recently had the Danish politician and former government minister Bertel Haarder sit model for a number of sessions.
Traditional painting always starts with a preparatory drawing. However, in a series of images, Nina has challenged this by making it the final layer. Often this is done by using thread and yarn, resembling needlework. The sensual and tactile holds great value in her painting since materiality has a way of expressing emotions and moods in a general way.
“I am not always well articulated in words and dogmas as they often are too unambiguous – so I use figurative language”, she has explained as to why there are no obvious stories in her art.
In Nina Høgnæs’ pictures there is a great span: From the spontaneously painted landscapes to the meticulously composed portraits. From simple drawings and contours on the one hand, to textural effects and affective use of colour on the other. From the present image to the emotions and recollections of the past. There is no such thing as standard practice for Nina as an artist. The only true constants are skill and sentiment.
For more of Nina’s work checkout her online portfolio.