Hans Jørgen Henriksen (de Hansi)
I am an autodidact painter with a painting process I have coined 'zonation painting', somewhere in between figurative and abstract, geometric and organic style. I started to train with croquis drawings for 15 years, before I turned toward painting i oil and acrylics.
I have exhibited my paintings since 2001 at a number of Danish and international exhibitions (Italy, UK, Turkey, Ireland, Spain and China).
I have been a member of Open Doors in Lyngby Taarbæk (https://ltkunst.dk) since 2017.
My most recent exhibitions internationally have been the London Biennale (2021), Amsterdam art fair (2023), Florence Biennale (2023), Artexpertise Firenze-Milano (2023), The Crypt Gallery London (2023), Cannes, Versilia and Insbruck art fair (October 2024).
I have also exhibited solo at various Danish galleries and exhibition venues (Møllers Gallery Ordrup Denmark 2024).
In your unique zonation painting technique, how do you decide on the arrangement and the interplay between organic and geometric shapes? What role does your background in hydrology play in these decisions?
Organic and geometric forms intertwine in my zonation paintings. My hydrology background shapes my art. Geometric shapes are ordered and precise, akin to geology and groundwater model structures, and built environment. In “Kings Path,” the built environment and the houses portray human control over nature, but control is full of ambiguity and uncertainty if we do not respect the unpredictability of nature and water. In hydrology, we therefore look for nature-based solutions.
Organic shapes, in contrast, embody fluidity and unpredictability, echoing how a river, a storm surge, or groundwater flooding carves its way through the land. I intuitively layer these forms, beginning with a geometric base, allowing their tension to emerge, mirroring a river’s path. The final piece reflects a balance between order and chaos, rationality, and emotion.
Through painting, I express the interwoven patterns of our world, showcasing the dialogue between geometric and organic forms.
You've effectively bridged your scientific understanding of hydrology with your artistic expression. Can you elaborate on how your scientific research influences the conceptual and aesthetic decisions in your artwork?
With a foundation in hydrology and environmental science, I approach painting not merely as a form of artistic expression but as a method of exploring and interpreting complex natural systems like the water cycle, urban areas, aquifers, and river systems.
In my paintings, I often employ techniques that reflect scientific approaches also used in groundwater modeling, such as layering and modulation, calibration, and validation, akin to the way groundwater zones vital to groundwater recharge are mapped. This layered modeling process reflects the various strata of understanding that exist in both art and science. Just as scientists must navigate complexity and uncertainty in the process and their research, I also embrace ambiguity in my artistic practice, using it to evoke deeper contemplation of the natural world, directly influencing the conceptual and aesthetic decisions in my artwork.
By integrating insights from various disciplines and drawing inspiration from the water cycle and natural environment, I attempt to create works that resonate with viewers on multiple levels - intellectually, emotionally, and aesthetically.
You mentioned that a typical zonation painting consists of multiple layers. Could you walk us through your process of building these layers? How do you know when a painting is complete?
Creating a zonation painting is a layered journey. I start with a geometric structure, a skeletal framework of pure color. This foundation establishes order, which I later disrupt. Then come organic forms, fluid shapes that evoke nature and emotion. Using a painting knife, I add texture, employing bold colors that symbolize various feelings.
Each layer responds to the previous, creating a dialogue with the canvas. The balance between chaos and order defines completion; when harmony is reached, the work feels whole. My use of “open acrylic” allows for adjustments, fostering experimentation.
Zonation painting is intensely personal, a medium for exploring my inner thoughts while capturing universal themes of the human experience.
When I perceive that the artwork has reached a harmonious state—where any addition or subtraction would disrupt its integrity—that's when I recognize it as finished.
How have modernist painters like Cezanne, Matisse, and van Gogh influenced your approach to color and composition in zonation painting?
Modernist painters like Cézanne, Matisse, and van Gogh have shaped my artistic approach. Cézanne’s deconstruction of form inspires my use of geometric structures, while his focus on color informs my palette. Matisse’s vibrant combinations encourage emotional resonance, and van Gogh’s dynamic brushwork leads me to experiment with texture.
In my zonation paintings, I blend these influences, integrating geometric shapes with fabulous colors and expressive techniques. The result is art that engages both intellect and emotion, balancing abstraction with figurative depth.
You often use complementary colors to create visual contrast and balance in your work. Can you discuss a specific piece where this approach significantly impacted the overall mood and interpretation of the artwork?
In my artwork titled "The Tip of the A.Iceberg?", I delve into the intricate relationship between humanity and artificial intelligence through a multi-layered composition. The foundational layer features geometric shapes that symbolize the rational and systematic aspects of our existence. Over this base, I introduced vibrant heads of elderly men in contrasting colors - set against a bold orange background. This striking color juxtaposition evokes a sense of discord and uncertainty, mirroring the chaotic nature of our contemporary world.
A dark green section divides the upper and lower parts of the piece, representing the divide between the organic and the mechanical. This barrier serves as both a shield and a confinement, suggesting the complexities of our interactions with technology. The title, "The Tip of the A.Iceberg?", hints at the hidden dangers and uncertainties that lie beneath the surface of our technological advancements.
I employed complementary colors, particularly orange and blue, to amplify the visual impact and convey a palpable tension. The bright orange evokes feelings of urgency and danger, while the cool blue symbolizes detachment and vulnerability. This contrast accentuates the ongoing conflict between the human experience and artificial constructs. Through this fusion of colors, forms, and symbolism, my goal was to craft a visually striking and thought-provoking piece that not only warns of the potential perils of unchecked technological growth but also opens the door to the possibility of more harmonious coexistence between humanity and artificial intelligence.
You aspire to find the transformative power in art that changes both the inner and outer worlds. Can you share an instance where you felt your art directly impacted an individual or a community?
At an art fair in Amsterdam, my painting "The Boat" resonated deeply with attendees. Its vibrant colors and abstract design sparked connections and emotions. This and other similar moments highlighted art's power to bridge diverse experiences and perspectives, surpassing the artist’s original intent.
I am deeply inspired by Paul Klee who joined the Blaue Reiter’s group in Munich in 1910 and his thoughts about art as a form that grows, something created by the artists working at the trunk, and roots of the trees, transmitting his art as a channel, where the task of the artist simply is to gather and to express what comes from him “from the depth”.
In the EU research project NeWater we explored adaptive and transformative water resource management. We realized that modeling was not enough in itself, there was also the need to take care of how to communicate messages how different stakeholders perceived the problem and its solution, and how decision-making is strongly dependent on our mental models. In NeWater this was referred to as ‘social learning’, that is learning to find new ways of looking at the problem, before finding solutions. Later we also realized that such solutions were more robust if they were nature-based. We began to understand that transformation requires that you better enable the development of future scenarios and incorporate the normative wishes and goals for the future. That is what I attempt with my zonation paintings, to realize new worldviews. My zonation paintings are examples of such future scenarios or collaborative new mental models.
Art is to realize and grow a new worldview.
From sketches of Copenhagen city spaces to nature and geology, your sources of inspiration are quite diverse. How do you transition these sketches and concepts into the multi-layered textures of your paintings?
As a hydrological modeler, I have developed guidelines for how to construct a computer model of nature and groundwater flow subdivided into five modeling steps: (i) model study plan, (ii) data and conceptualization, (iii) model setup, (iv) calibration and validation, and (v) simulation and evaluation. This protocol had a total of 48 tasks. I have tried to develop a similar set of guidelines for zonation paintings. However, I have realized that there is not one rational set of steps for transitioning sketches and concepts into the multi-layered textures of my paintings. And there is no ‘model study plan’. Each painting must grow by its logic and a proper mix of spontaneous and structured decision-making.
Transforming sketches into layered paintings is a blend of intuition and structure. I start with geometric shapes inspired by Copenhagen’s architecture, establishing order. Organic forms influenced by nature or mental models are layered on, creating dynamic tension.
Color plays a vital role; contrasting hues evoke varied emotions. I experiment by adding or removing elements and refining the composition. My goal is to create visually captivating, intellectually engaging artworks that reflect personal and universal themes.
As an autodidact artist, what have been the most significant challenges and rewards you've encountered in developing your artistic skills and style without formal training?
I don’t think I am an autodidact artist; I am more a self-taught artist belonging to a group of other self-taught artists, and therefore I learn also from my colleagues and peers; But I have encountered significant challenges and rewards in my journey to develop my artistic skills and style, even with formal training by teachers in croquis, oil, and acrylics painting and feedback from different mentors. One of the most notable challenges has been navigating through various artistic movements and finding my voice in a world filled with established art forms.
However, the rewards have been equally substantial. Through my self-taught style of "zonation painting," I have managed to create an artistic identity that combines spontaneous processes with free associations and sensory experiences.
Inspiration from artists like Cézanne and Klee, and feedback from mentors (David Isenberg and others), colleagues, and art buyers have helped me shape my style, and my ability to integrate various elements such as colors and forms in my artworks has resulted in a profound aesthetic experience.
How has your artistic vision evolved since you first began exhibiting your work in 2001? Are there elements or themes that have persisted or transformed significantly over time?
Since I began exhibiting my work in 2001, my artistic vision has undergone a profound transformation. In the early stages, my primary focus was on creating visually captivating pieces characterized by striking either figurative or abstract forms and vibrant or tonalist colors. I eagerly explored various techniques and materials, driven by a desire for technical proficiency and aesthetic appeal. Soon my inspiration turned toward abstract expressionism before I became interested in post-impressionism.
As I progressed themes such as Copenhagen city landscapes in oil paint with the focus of integrating lines, tones, and colors. Later I focused on figurative and abstract paintings in acrylics. In my most recent paintings environmental concerns, social justice, and the complexities of the human experience have taken center stage in my work. This evolution has led to a more conceptual approach, where the narrative and message sometimes also overshadow purely aesthetic considerations.
Despite these changes, certain elements of my artistic practice have remained steadfast. My fascination with the dynamic interplay between geometric and organic forms continues to influence my work, and I still harness color as a vital tool for conveying emotion and meaning.
As I have matured as an artist, I have gained greater confidence in expressing my ideas and emotions. I've learned to trust my intuition, embracing the imperfections and uncertainties that accompany the creative process.
Looking ahead, are there new themes or techniques you are eager to explore in your zonation paintings? How do you see your style evolving in the coming years
I don’t know. Since I simply attempt to let the scenarios and tales grow on top of the first geometric layer when adding the second organic layer and mixing the two, maybe I will try to add more layers on top of each other, than the three layers I focus on now. I think I will focus on creating more oil paintings in the coming artworks. My challenge is not spontaneity. My challenge is the consideration. I need to find a way to slow down to let the painting grow to capture resilience.
This slow approach mirrors the concept of ‘slow hydrology,’ suggesting a thoughtful response to our fast-paced world. Right now, everything is either drought or flooding, we need to slow down the water cycle to enhance societal resilience.
I hope to capture societal resilience in my artworks on canvas while advocating for a slower, more reflective artistic process. Imagine the headlines: “Artist Slows Down the Art World, One Zonation at a Time!”.
But first I am going to visit the Paul Klee Museum outside Bern in Switzerland and participate in the Innsbruck art fair in late October.