Going through Kirstine’s full archive has been an enlightening experience. The early installations and drawings were explicitly political and feminist. They were angry, but also a lot of fun. Humour, playfulness and poetry were present in the rage. Later the collage became a preferred medium. Kirstine’s collages were often incredibly beautiful but contained an implicit act of violence – a cutting up of the represented world to reveal society as a construct, but also a mending by putting it back together again with new meetings and relations taking place on the picture plane. To cut up things is however to create a space in between – a darkness. The potential and power of darkness is a theme, Kirstine has worked with extensively in her later works that spans a variety of mediums such as painting, sculpture, installation, textile works, ceramic, glass, works on paper etc.

With darkness came an elevated awareness of resonance, vibrations, and energy, and from the light bulb drawing of the 90s to the monumental sculpture installation Lightning Rod standing tall in Regents Park runs a (conductor) line of an artist working to understand the dynamics and energy of the universe with the human as a catalyst.