Galleri Fredslund - all that you didn't find about Kirsten Fredslund Jaeger and her works on the other pages

ABOUT KIRSTEN - "If you could say it in words, there was no need to paint" - Edward Hopper"

"To paint is constantly to wonder, to notice, to reflect and without knowing what it leads to - gathering impressions of life in an expression that will benefit others" - thats my philosophy !

Over the years, the motives and thoughts about my inner pictorial universe constantly has grown. Inspired by many impressions from trips to Spain, Italy and New York, I have painted fairy-tale motifs with acrylic, oil and charcoal on canvas. The paintings are entirely their own story and it's up to the viewer to decide how the story develops.
Over the last year the houses in my paintings are replaced by abstract colors in which it is still possible to create its own story based on colors and patterns in the paintings, and where you can now find a deeper peace of the term.
I am interested in the space of the image and constantly explore with colors and brushes, without knowing exactly what it evolves into, so each new image is a journey into the unknown as it slowly takes shape.

I have been painting since 1997. The start was a summer stay at Vestbirk High School, where we made paintings with oil paint and took a trip to a local Art Museum to see how it really should be done. It inspired me a lot and I bought my first canvas and slowly created my first painting. In 2000 I started in a small town near by Varde, Denmark, and in 2009 I moved to Randers, Denmark, where I now live and have my studio and gallery on my home address.

I am self-taught and has attended in different courses, among them a long-term course at Aarhus Art Academy. I joined Artmoney organisation in 2013 and in 2015 I started working with bronze and stone.
I exhibit in companies, art associations and galleries throughout Europe

John Austin, art writer from Manhatten - 2017
Joyous vitality in the work of Kirsten Fredslund Jæger
The overall gestalt of Kirstens paintings with their radiant colors combines landscapes and suggestive human forms involved in a joyous dance of life. The artist involves the viewer in a measures response to her working materials. She exploits the technique of saturation and transparency to create a kaleidoscopic effect of moving shards og color that offer no particular resistance to a flurry of mental associations that flutter within the viewer's mind like ideational butterflies.

In her acrylic on canvas paintings the artist challenges herself as well as the viewer in studies of form meaningful undertones. "Girl in Red" continues the artist's efforts to implicate a sensorial release towards self-understanding. In this intimate work the artist's swags of color help define a picture plane which tilts forward and backward in space. The implicated lines between the edges of the various color passages, meanwhile, create a sensation of folds which, in turn, allow the eye to imagine both near and far distances simultaneously.

This sensation of great height and great depth, one of the elements found in the Romatic artist's expression of the Sublime which evokes a mixed sensation of both joy and amazement, is realized Kirstens's work in which the artist attempts to define not only space but place and in which presentational as well as representational data is detonated. The eye surges in a movement af ascendancy towards the apotheosis og light in the distance which emerges at the end of the pictorail plane. The artist explores not so much brushwork as much as washes of color in which gesture and mark making defines the territory af picture-making as much as reference to nature.

Kirsten's paintings are her homage to the shining purity of nature and culture. There is a watercolor like aspect to this lyrically abstract seems strangely flattened and strecthed as if in a dream where the processes of nature have been unaccountably decelerated, yet all the while covered with a miasmic film of memory and dreams.

At the root of Kirstens capacity to draw to our attention the sweet vitality of re-invigorated pictorial space lies the deep meditation at the heart of her work. Just as there is an active tension between the figure-ground relationships, and between the negative and positiv spaces, there is also a dialog of the voids, the gaps seen in each work. These white voids have significance if only as reminders of the power of transience, of impermanence, of mortality.

Kirstens work is comspicuously expressive both in its feeling tone and in its quality. The hushed reverbations that occur whitin the observer's mind upon perceiving her works occurs by virtue of being engrossed in an experience of beauty. The experience is the manifestation of Kirstens transformation of materials into pure vision.
Gloria Jensen, artist and art colleague at Atelier12b - 2016
Universal art with gallery of joy
Since Danish Kirsten Fredslund Jaeger found coal in her grandfather's old smithy, and she drew with coal on the white plastered walls, drawing with coal has followed her throughout her artwork. She loves to touch upon to all our senses, and through new experiences touch upon the meaning of life. This, is driving her when she starts on a blank canvas - as a journey towards unknown destination.

Out in the blue
Her work seem familiar to many, regardless of nationality, and yet not. For she paints a mix of travel experiences and respectful encounters with others, into a fantasy world that arouses within the viewer a recognition of situations, places and gatherings. You feel that it's something you've seen before. It gives a positive echo in the mind, because her world does not paint black / white, but is quite saturated with a palette of colors, which she uses liberally.
The colors radiate out of the iron frames that encircle each work. Colors pique one's curiosity to find the story in the picture. It may take time, because there are many layers and levels, because Kirsten manages to reproduce the visual process as it actually looks. The intention is to give the viewer an experience, which may well be different from day to day, when you walk by the picture.

Passion, gates and girls
Kirsten wants the viewer to think further. Therefore most often in the images, for example, there is a gate. It is up to the viewer to determine whether the gate is open or closed. The point is, whether you yourself courageously close a gate or others do it for you, then there is always a path. Therefore, the gates become crossovers, in both the literal and figurative sense – as an opening towards something new.
In the paintings, small female figures in summer dresses appear in the gate openings, ready to either disappear or come to meet us. Girls send a smile to the world, and those who come to meet us, spread joy. They are in motion, different in color and shape.
The tone of the artist is warm and summery with green, red and blue colors in contrast with the white houses with coal lines and natural backgrounds, such as mountains which she is quite in awe of.

A painting should touch one’s soul. Move the viewer, passion, the pleasure of experiencing new details when you look at it. The experience of feeling that one sees something authentic, in spite of it being fantasy. The stuff that colors our existence.
Kirsten contributes to this with her optimistic outlook when painting.
Unique and universal art in one.

Gloria Jensen
Tom Jørgensen, art critic and editor on - 2014
One can quickly find that Kirsten Fredslund Jaeger paints landscapes. However, it is important to determine how she paints these landscapes. Here you can start by saying how she does not. A quick glance will make it clear that Kirsten does not paint either central perspective landscapes, renowned for renaissance or lyrical abstract paintings à la Per Kirkeby.

The images are located somewhere else. Partly in Chinese and Japanese art. In particular, the paintings of Chinese mountain landscapes created on long rolls, so the eye, instead of focusing on one disappearance point like in European Renaissance painting, has to scan the entire canvas and, in fact, reproduce the vision process as it actually takes place. Another example is Italian art from the 1300s, where the central perspective has not yet been invented, and instead, it operates with the so-called hierarchical perspective, where objects and figures in the background are reproduced as larger than those in the foreground and where, like in the Chinese Painting does not have a frozen freezing point.

It is also relevant to note that Kirsten does not paint a concrete scenery, but rather the essence of impressions taken from traveling in Italy, Spain, the United States and China.
"Seatown" is such a landscape image. The slender white towers give memories of San Gigmignano, the famous Tuscan medieval town. Small women's shapes in summer dresses stand in door openings, ready for either disappearing into the other side or meeting us. A feature found in most of Kirsten Fredslund Jæger's paintings. The color lays itself as a separate layer over the composition alive its own life on the image surface rather than attaching to particular objects. As always, the artist is warm and summery with green, red and blue colors in contrast to the white houses and the mountains of the background. The impression is peaceful. Here is harmony and no danger. Puzzles are there too. In the Renaissance painting, the glance is unobstructed into the depth of the image. Everything is open and revealed. At Kirsten's paintings, walls or the landscape blocks for the intrusion of the eye. Instead many ports serve as transitions in both literal and transposed sense. The women on their way through the portals are on a journey to an unknown world.

If the character of this is not revealed, the irritation of our curiosity is all the more important. We let our imagination play and poetry. A side win, you should not underestimate.
Kirsten's image world takes us on a journey to places we know. Know from our own travels, from movies and books or from our dreams. She paints them so that you feel the summer heat that causes the air to vibrate, and the overwhelming scent of lavender and wild thyme. And you long.

Tom Jørgensen