‘Délicatesse des couleurs’, the tenth exhibition in Salzburg’s Hangar-7, presents young artists from France. One of them is the Parisian Nina Childress, who in her work prefers to rework nostalgic postcards and newspapers. An interview.
Firstly, please give us a few details about you: What do you like, what can’t you stand, and what do you laugh about the most?
I love old opera productions, for example ‘Rosenkavalier’. I don’t like flat screen TVs or films that were made after 1985. And I laugh about my contradictions.
Which three artists – also from different genres if you like – touch you?
Firstly I think of Loris Lorinth, Lisa Milroy and Jean-Frederic Schneider. But I also have to add Gelitin, Karen Kilimnik and Olivier Mosset.
What do observers of your art usually notice first … ?
The strangeness of the subjects and sometimes their variety.
... and what makes it characteristic in your opinion?
Brushstrokes and colors.
Please give us some insight into the working environment where most of your works are created. Is it sterile or chaotic; quiet or full of life?
I wish it were quieter! I always paint during the day with loud opera music playing.
Please choose one of your exhibited works and describe in a few words how it developed and what the idea behind it is.
‘Sissi couronnée’ is about the loss of innocence of a young princess. Karlheinz Böhm also played a serial killer in ‘Peeping Tom’. It’s quite an ironic painting. Tragic. It comes from a badly printed newspaper. The blurry smile makes Sisi scary and beautiful.
What would be the ideal feeling or awareness that observers leave the Hangar-7 exhibition with?
I hope that my paintings immediately arrest the eyes, and elicit the feeling of astonishment.
Nina Childress
Nina Childress
