At the studio with: Sune Christiansen

For Danish artist Sune Christiansen, creativity knows no boundaries. Renowned for his playful yet enigmatic take on figurative abstraction, Christiansen has developed a signature style that bridges the gap between the familiar and the ambiguous. His work invites viewers into a world where texture, form, and movement interact in unexpected ways, leaving space for interpretation and introspection.

During his stay at our artist residency in the heart of the Empordà, Christiansen found himself immersed in the tranquil yet vibrant landscape of the Costa Brava. The Alzueta Gallery Artist Residency, known for its nurturing environment, provided the perfect backdrop for Sune to reflect on his practice. Between quiet moments of solitude, days exploring the region’s organic architecture, and intense sessions in the studio, Sune’s residency became an incubator for new ideas and deeper insights into his work.

We sat down with Sune to talk about his experience at the residency, his artistic journey, and the process behind his distinct approach to figurative abstraction.

AG What did you enjoy most about your time at the residency? How did it influence your creative process?
SC Ha, ha, that depends on how you define “enjoy.” When I get sucked into my work and feel that I’m in flow, I really enjoy it. These moments are brief, but they make up for all the anxiety I feel being here. Don’t get me wrong—the studio is great, and the apartment I live in is out of this world, but I don’t like being alone.

Being in a new place and working so intensely is not nice, but it’s something that helps me grow as a person and as an artist—that’s the real joy. The people here have been really nice to me, and I know that when I get home, I’ll look back on this time fondly. I’m thankful for the opportunity.

AG How did changing your environment at the residency affect your mindset and ideas? Did you find yourself inspired in new ways?
SC To be absolutely honest, the idea of travel is not very appealing to me. The unknown makes me anxious, and it’s hard for me to relax. At the same time, those feelings sharpen my senses. They make me hyperaware of the context I’m in and the unique qualities of the surroundings.

Walking around in La Bisbal, for example, I noticed how the architecture seems to grow organically. The buildings feel like they’re constantly in process, as if nothing is truly finished. There’s obviously reasons for the decisions that have been taken, but the reasons are not necessarily that obvious anymore. This is something that really resonates with the way I work and a feeling I strive to catch.

AG Can you walk us through your process when you begin a painting? What’s the first step for you?
SC I often start with a specific form, a specific movement, or composition in mind. Sometimes it takes just five minutes to sketch an idea, but other times it takes days. Once I feel ready, I transfer it to the canvas and let the process evolve from there.

AG Where does your passion for art stem from? Were there any pivotal moments that set you on this path?
SC I have a very early memory from my childhood sitting on my grandfather’s lap  as he drew and told me stories about a warship from 1628 he had seen in a Stockholm museum. I remember how I was fascinated by how his hand was able to put all the lines in the right place on the paper.

When I started school I quickly learned that drawing was the only thing that I was really good at. My mother, who is a very clever woman, saw this and she was always supportive and made sure that there was always art supplies available at home. I think working in the artistic field was kind of my only option.

AG How did you develop your distinctive approach to figurative abstraction? Was it a gradual evolution, or did something specific inspire this direction?
SC It’s hard to say really. I think it’s something that evolved gradually. When I started painting, I thought, “I’ll paint abstract because that’s what real artists do.” But I quickly realized that it worked better for me to paint however I felt like—sometimes abstract, sometimes more figurative.

AG How do you approach elements like texture, density, and speed in your work? How does this dialogue unfold between the figures and objects in your compositions?
SC Texture and contrast are something that interests me a lot. That’s why I use so many different materials—dry vs. oily, soft vs. hard, messy vs. clean. In my paintings, I often try to capture a moment where figures and objects feel slightly out of place. This raises a question: is everything about to fall into place, or is it all actually about to fall apart?

AG Was this your first time in the Costa Brava? How did the landscape and atmosphere influence your artistic process during the residency?
SC Although I’ve visited Spain many times, this was my first time in Costa Brava—and hopefully not my last. It’s been wonderful driving around in this beautiful landscape, which is so different to what I’m used to in Denmark. Swimming on the incredible beaches has offered me a pause in between my quiet intense workdays.