Many things in the world around me delight my visual sense. These entice me to create art as an expression of that appreciation. I try often to let the art take me where it wants to go. I often don't remember making the art when I see it again after a few months. Photographs integrate more fully with my direct life experience and document many of the things around me that capture my interest and hold some "beauty," in spite of, or in addition to, their generally perceived beauty or lack thereof.

My work depicts in a subtle way my own personality. My passion for beauty, harmony, depth and life.
Creating dramatic yet simple compositions that showcase sensuality, beauty, life and mystery of our own humanity.
My still life work in its simplicity depicts more than just simple objects. My art actually represent a story behind every piece which I tried to summarize in their names. Two cherries might be two lovers under a paper wrap that represents the intricacies of a relationship.
A shell sitting on its reflection is a spiral evolving of the spirit constant growth and maturity through the years.
I try to represent and embellish life from simple forms with light and darkness.
My modern art flows in rich & earthy colors and it is full of textures and orbits; a reminiscence of our universe and the spirits behind the elements. 

My art is inspired by the personal but celebrates the universal. Fifteen years ago I found what I consider to be my voice and my vocabulary as an artist. With a consistent palette and use of both strong color and line, this vocabulary has freed me to focus more on the story I wish to tell and less on the words I use in the telling of that story. The recurring figures represented in many of my pieces have made their own journey as well. In earlier work they were lonely or lost souls fighting against excess and inner conflict, but now they are exclusively celebratory, loving and joyful – a direct reflection of the happiness and joy I’ve found in my own life with my wife, Nikki, and my daughters, Sienna and Kira. My process has evolved over the years from the use of acrylics and pastels on wood panel or canvas to what is now a true composite of both traditional and digital painting techniques. This includes the creation of key elements with acrylics and pastels, digitization of those elements, and finally refinement of composition, color and scale within the digital space. The seemingly simple and quickly resolving compositions serve as metaphors for the pure emotions they represent.

Most of my art work is figurative and representational. My paintings are based in experiences which have had deep emotional impact on me. I am deeply inspired by images and colors of Mexico. I enjoy working with bright vivid colors in oil on canvas, in order to evoke a striking experience. While the images in my paintings seem more or less derived from nature they are not intended to be representations of ordinary everyday reality. As I paint, I continuously ponder the structure and concepts of my images in order to insure that they correspond to my sense of the experiences underlying them.

In my “Forgotten Memories” series, I depict the untold stories from long forgotten photographs. I paint these images on wood panels with oil paints, using a considerable amount of white space with the images cropped out of their environment, creating a sense of unbalance and emphasizing the need to focus on the individual’s memory, rather than the whole picture. White areas from the images blend with the negative spaces of the panel to create tension and abstraction of each delineated line. Since many memories are shared, the identity of the person within each memory is inconsequential. The eyes are blocked out so that the viewer can take part of each memory as if it were their own. The painting is then covered in encaustic wax to add an antique photo look and dream-like feel to each piece. Because many memories are unclear and somewhat “fuzzy”, the wax also obscures the images as if the viewer, themselves, were trying to recall a past event, yet could not remember all of the details.
I started this series in 2009 because it made me sad to see so many old photographs sold in thrift stores and flea markets or thrown away, as if the memories no longer mattered, the events recorded no longer important. This series is my attempt to resurrect these memories in a contemporary way.

I make art to bring the feeling that I get from being outside, in the natural world, inside.



The paintings and sculptures I create are inspired by organic forms, science, and rhythms and patterns found in nature. My process is intuitve, leaving me open to the exhilaration of discovery. A common theme that surfaces in my work is a feeling of lightness and balance; a place of contemplation. The paintings and sculptures are calm, slow, quiet. Objects float. Lines meander. Color is either soft or minimal.



I am a scavenger, a seeker, a collector. During my daily walks in the natural world, my eyes are constantly on the lookout for ideas and objects to use in my work. Morning dew drops on a leaf. Rocks split in half by nature’s forces. Driftwood and stones lying on the beach. These are some of the things I use as fodder to create. Being in nature fills the deepest part of me. I feel alive - my senses heightened - yet at the same time, completely peaceful.



The tactile quality in my paintings and sculptures is achieved through a combination of deliberate experimentation, fortuitous accidents, and an understanding of the inherent qualities of the materials with which I work. Gravity, the resist between wax and water, the introduction of organic materials, and my own hand drawing, erasing or scratching back into the surface are some of the techniques used to create the range of textures found in the work. The excitement that comes from experimentation, exploration and discovery is one of the most salient reasons I’m drawn to create.



Consistent with compositions in nature whose quiet rhythms give pause, my paintings and sculptures aspire to evoke a similar response.

Fort Mason: Tim Christensen Profile “I often am confronted by astounding beauty and I try to reflect upon that impact, transferring the experience to other images.” The raw beauty, sensuality or deep human emotion inherent in an image is what figurative artist Tim Christensen strives to convey in his work, and his hope is that his art will touch you and elicit a response. The New Zealand native who came to the San Francisco Bay Area some 20 years ago to study feminism on a scholarship at UC Berkeley believes that it is the role of the artist to provide a lens for society to view the world. “I feel a responsibility to stimulate thought and feeling in the society around me,” he emphasizes. “I want to engage my viewers to react strongly to whatever I present to them.” Power of the human form Inspired by the Bay Area Figurative School of Art, (Joan Brown, Elmer Bischoff, etc.) along with modern masters, such as Lucian Freud and Cecily Brown, Christensen originally focused on the power of the human form. More recently he expanded to other subjects -- a series entitled “Deep Space,” which is based on images acquired from the Hubble Telescope, and “Waves” inspired by the large waves of the California coast near his home. Persuaded by his young children and his many years as a diver, he also has created large-scale works of marine life and flowers. Christensen describes his work as bold, fast, instinctive and at times almost primitive “My work is often large, always bright, hot and sexy, as is life,” he says. “My art is impatient and energetic. The brush strokes do not require deep analysis; they are emotive and tactile. Pieces are generally ‘wet.’ Some say the paint colors are ‘fat’, with sloppy, dripping, blazes of color so bright that it immediately captures the viewer.” Interpreting the subject through personal experience Christensen seldom attempts to approximate realism but rather interprets the subject through his own experience. “Often my best works result from the challenging and invigorating experience of working with the live model or my visual replay of an engaging experience, such as being rolled by a tremendously powerful wave on the way out to a dive site, somewhere on the wild coast of Northern California,” he says Subject matter drives the technical aspects of Christensen’s work. He may rapidly execute a gigantic ocean wave on a large-scale canvas, using vast fluid strokes of paint to convey motion. On the other hand “Aurora,” a series of interpretive skyscapes, softly bleeds across the canvas to reflect the ethereal nature of that subject matter. Whatever the subject, Christensen believes that our lives are greatly enriched by all forms of art, and that we must learn both as a society and as individuals to invest in these important works in order to maintain our spirit and to preserve our cultural expressions. Being able to play a small part in that dialogue is what helps Christensen validate his being an artist.