Kristina Bræin makes use of the formal language of minimalist abstraction for her site-specific interventions in the exhibition space. The starting point and most important element of her artistic practice is always a dialogue with the available space.

She employs unspectacular, everyday objects and materials for her work, and the results as such cannot immediately be recognised as ‘art objects’. This means that the sculptural arrangements which she assembles may almost merge into the exhibition space. At the same time, they visualise an additional dimension already inherent in the space; one that would have remained concealed without her intervention. The resulting ensembles are improvisations or temporary statements, which emerge spontaneously through the artist’s continuing dialogue with the given setting.

Bræin’s works are minimalist, yet they exercise a considerable sensual attraction. The ensembles – which often oscillate between sculpture and drawing – represent a commentary on, and a reversal of the dominant logic of the given space.

As in all her works, in her most recent installations the artist is primarily concerned with the work’s process of emergence and with the element of improvisation – a working method which is reminiscent of Kristina Bræin’s other artistic discipline: music.