Into the Layered and Spontaneous World of Artist Kristin Romberg

Norwegian artist Kristin Romberg creates vibrant, large-scale paintings and immersive installations that engage viewers both visually and physically. Using acrylic on canvas, her abstract works exude an organic vitality, blending raw textures with fluid, dynamic hues. Intuitive brushwork and layered compositions invite viewers into a tactile and immersive experience.

ArtSloth had the wonderful opportunity to interview the Artist. The full interview is also available to read in the first volume of the ArtSloth magazine. Click here to read the full issue.

Kristin Romberg’s use of untreated canvas integrates the material into her narrative, balancing spontaneity with intention to create pieces that feel alive and ever-evolving. Recently, she has expanded into installation art, crafting environments that encourage sensory interaction and deepen the connection with her work. Her art explores the profound relationship between creativity and nature, offering a multi-sensory experience that resonates deeply with audiences and lingers long after viewing.

Artist Statement

I often walk in the woods and mountains, discovering that trees touched by thousands of tourists become slippery and worn, bearing the traces of everyone who has touched them. Similarly, when many visitors touch my paintings, they wear down and collect traces, which become part of the work itself.

My exhibitions resemble installations or shows more than traditional painting displays. Hanging on walls in layered compositions and floating in the room, the audience is encouraged to engage physically with my work. I investigate and push the boundaries between these categories. Although each painting is different, together they create harmony and unity. The back side of a painting can be just as interesting as the front when light shines through.

As an artist, my role in society is to create a timeless space for the viewer—a space for reflection, wonder, and a feeling of being alive. While I have no political agenda, I hope my work ignites a hint of optimism for the future. I believe my bright colours and expressive energy bring something positive to those who see and experience my work.

• Kristin Romberg

INTERVIEW WITH ARTIST KRISTIN ROMBERG

In the studio, how much room do you leave for spontaneity and experimentation? Do you think the atmosphere of your space influences your mood and creativity? 

Absolutely, I leave a lot of room for spontaneity. I let the space, light, and surroundings guide my process. Moving geographically impacts my work deeply, as I respond to the energy of each location. The studio’s atmosphere influences my mood and creativity; it's essential for me to feel connected to the space and let it shape my expression.

The bold forms and vibrant colours in your work bring a lot of energy and emotion to each piece. How do you approach creating these striking compositions, and what role do you think colour plays in conveying your artistic vision?

Creating my work is like a dance—a push and pull between intuition and intention. I let bold forms and vibrant colours move freely, responding to each brushstroke and adjusting as I go. Colour is a powerful language for me; it brings energy and emotion, shaping the story and atmosphere of each piece. This dynamic flow invites viewers to feel and explore, capturing the rhythm and spontaneity I aim to convey.

“When I paint, it's like a ritual dance where every stroke and gesture is directly rooted in time and place. An inner force drives me to create exactly what I do. I am present, experiencing, sensing, and then projecting it onto the canvas.”

Large-scale work comes with its own set of physical and creative challenges. Can you share some of the obstacles you’ve faced while working on such vast canvases? How does it change your approach compared to working on smaller pieces?

Smaller pieces can indeed feel more challenging. When I work large, it’s as if I see the piece from a bird's-eye view, even though I’m standing right in the middle of it and can’t see the whole. This scale allows me to immerse myself fully, moving with the work and feeling a freedom that’s harder to find in smaller formats. With big canvases, there are physical challenges—like reaching, stepping back, and constantly adjusting my perspective. But that immersion gives me a sense of flow and spontaneity that brings the work to life in a unique way.

As an artist, how do you navigate the balance between creating for yourself and creating for an audience? Do you ever feel external pressures influencing your work, or do you focus more on personal expression?

I never think about sales when creating a piece—it’s just not possible. The art market will be what it is, but I make what I want to make. I focus entirely on my own need for expression, and I can’t create with the intention of pleasing someone else. At the same time, I see a lot of art, and it’s impossible not to be influenced in some way. But that influence isn’t about adapting to others’ expectations. I believe in following my own intuition and expressing what feels genuine, hoping it resonates with the audience without compromising myself.

“Working with large-format paintings, I abandon the traditional concept of canvas on stretchers. I aim to evoke nature and offer the audience an experience akin to moving through a dense forest or jungle. By inviting people to touch the paintings, they leave traces on the canvases, adding to the work”

For emerging artists interested in working on larger canvases or exploring new techniques in the studio, what advice would you offer? Are there specific lessons you’ve learned that you think would benefit someone just starting out?

My advice is not to think about money—at all. Large canvases and a lot of paint can be expensive, but if you’re committed, you need to go all in. Make sure you have enough space so you don’t have to tidy up every day, and create without worrying about consequences or sales. You’re painting for yourself, not for anyone else; this isn’t decoration to match a sofa. You have something to say, and your tool is painting. Dare to make mistakes. So, jump, don’t think—that’s my motto and my advice.

Every artist draws from a range of influences, whether they’re other artists or life experiences. Who or what are some of your biggest artistic influences, and how have these inspirations shaped your approach to both the technical and conceptual aspects of your work today?

I draw significant inspiration from Abstract Expressionism, particularly from artists like Helen Frankenthaler, Lee Krasner, and Joan Mitchell. Their use of color and form influences both the technical and conceptual aspects of my work. I’m also inspired by Sam Gilliam, as well as Norwegian artists like Olav Christoffer Jenssen and Per Kirby. Additionally, Hilma af Klint and Katharina Grosse have shaped my understanding of color and abstraction. These influences encourage me to explore my own expression while pushing the boundaries of technique and concept in my art.

Read the full Interview as beautifully designed spreads in the first Issue of the ArtSloth Magazine (Vol. 1).

To connect with Kristin Romberg, visit their website, or follow the artist on Instagram.