Christine Morren: The Artist Who Balances Realism and Surrealism.

Transmission 088: Interview with Christine Morren

Christine Morren is a Dutch based artist, born in Louvain, Belgium. She began painting in acrylics in 2002, but as oil painting grew more versatile and allowed for more in-depth manipulation, it became her preferred medium. She had always thought of the arts as somewhat of a dream, but after deciding to pursue a different job route, she realised that the only dream career for her was painting. Because of her commitment to her work, she also received professional sculpture instruction from Maarten Ceulemans at the Academy of Fine Arts in Rillaar. Here, she was able to explore her imagination and take her artistic expression to a new level by delving into the realm of three-dimensional art. She created her own language, and most of her artworks combine surrealism with realism. The world of Christine is full of creatures. The concept and subjects of her works vary as much as their intensity, emotion, and dimensions. Her paintings, which are all imbued with her distinct viewpoint and feelings, speak for themselves.  Several more galleries and shows in Belgium, the Netherlands, Italy, Germany, the UK, the USA, and other countries have featured Christine’s artwork.

Christine Morren’s official site, Facebook and Deviant Art

Can you share how you developed your characteristic style that mixes realism and surrealism? Have you always created art that combines these genres, or has your style evolved over time?

When I was little, I would copy things by drawing them. For example, I had a little book about mushrooms, and I drew all those mushrooms. I copied the mushrooms exactly. I drew a lot and loved doing it. I have always continued drawing. In 2002 I started painting in acrylics, but soon I found it didn’t suit me. The more malleable oil technique became my medium of choice, permitting a more profound manipulation. I went to an artist’s studio in Antwerp to learn fine painting. I wanted to master the technique of realism, so I painted a few very realistic still lifes. Once I could proceed with this, I gradually developed my own style. I still combine surrealism with realism. 

She developed herself on the adventure, refining her artistic skills and rekindling her passion

How do you think your cultural background has influenced your artistic vision and style?

When I had to change schools in the middle of first grade because we moved from Brussels to Louvain, I couldn’t keep up as well. It was difficult because the teaching methods were different. To help me learn to read words, my dad would sit next to me and draw all the words. I was more fascinated by the drawings than the words! Maybe that’s where my love for drawing began! My dad was very good at drawing. He had golden hands because he could also sculpt, paint, and more. When I was 12 years old, I was allowed to attend evening classes at the art academy. When it was time for high school, I wanted to go to an art academy, but my parents didn’t allow it. So I pursued other studies. It wasn’t until later that I started painting as a self-taught artist. 

What challenges did you face at the beginning in balancing the detailed aspects of realism with the imaginative elements of surrealism? How do you balance the technical precision with the freedom of invention in your art process?

The most important thing is to stop in time. Too much detail can ruin the work. It’s a matter of searching and weighing, each time anew.

Realism can evoke a sense of nostalgia, and surrealism is often open to interpretation. Do you have specific messages or narratives you embed in your artwork, or do you prefer viewers to create their own meanings?

There is practically always a story behind each work, but I prefer to let the viewer discover the emotions it evokes on their own. I don’t want to influence the viewer’s thoughts, unless they ask.

How do you begin a new piece? Do you start with a concrete idea or does it evolve more organically? Can you tell us how long it takes to complete a piece of art from the concept idea to the final artwork?

I always start with an abstract first layer. In that layer, I look for a composition that appeals to me and develop it. Usually, I have no idea what it will become. Occasionally, there are ideas I plan to work out in advance, but I never sketch how it should look beforehand. I paint in several very fine layers, each of which needs to dry. So, depending on the size of a painting, it can take quite some time. Let’s say a few weeks for a medium-sized piece.

How important is colour in your paintings, and how do you decide on the palette for each piece?

Colour is very important in my work. I don’t use that many colours. I mix them optically. By this, I mean that I mix colours by painting layers over each other. I love earthy colours.

Do you see your body of work as telling a cohesive narrative, or is each piece a standalone story? Does your work comment on humanity, nature and life or challenge viewers’ perception of the world?

Each piece stands on its own, but there is certainly a cohesive story within. You can often find a kind of sadness in my work. What occupies my mind are the sad situations in the world: war, the environment, poverty, mental (un)well-being… This definitely plays a role in my paintings. But each painting stands on its own. Dreams are also a very nice inspiration! And humour is also an element in my work.

Are there any personal experiences or emotions that particularly inspire one of your art creations? Can you share the story behind it?

All kinds of creatures appear in my dreams. Figures like this birdman can certainly play a role in my dreams. I suspect this is because I love nature so much and because birds symbolise freedom for me. At least the free birds, because I hate birds being captured in a cage. The ancient Egyptians used a bird as a symbol of the soul.

Beside painting you also create sculpture. Which one of these techniques or mediums do you find better help you to navigate the boundary between dreamlike surrealism and the tangible?

The combination of the 2 is very interesting! But I guess painting is the most important technique for now. I am still experimenting with sculpting.

With the rise of digital art, how do you see the role of traditional art like painting and culturing evolving?

I find that a difficult question. I also make digital drawings myself. Even David Hockney does it! I don’t know where it’s going to go. Personally, non-digital works are still more interesting to look at. They have a layering and depth that is different from digital work.

Photos courtesy of Christine Morren

Dominique Musorrafiti

Ciao! My name is Dominique. I’m Italian and I’m proud to be a mix. My father was an Italian chemical engineer and high school teacher, with Greek and Polish heritage. My mother is Haitian, she was high school language teacher, with Dominican, Spanish, French, Portuguese, African and Native American heritage. Being a mix makes me appreciate to want to understand different cultures and lifestyles. I grew up in Italy, lived few years in Haiti, travel around main European capitals, lived many years in China, in Spain and UK. Traveling makes me feel that we can learn something from every situation in every part of the world.