i shoot film.

i believe in the richness of the result.

manipulating and altering the image doesn't ring my bell.

each picture has it's own terroir. it's not just place. it's light, mood, subject, weather, the critical moment.

i care that you see it as i saw it. not as i want you to see it after the computer has messed with it.

no effects, no fuss, no intervention.

Each person experiences the world in their own way, making truth subjective. My artwork is a visual representation of my truth, through my eyes and experiences. The pieces all start off with an initial idea but always grow into whatever they were meant to be. I don't attempt to depict the world as we see it. My work is about letting my little intrigues tempt you into my world of lies.

Drawing is the "Lucy" of art.  It is the source of all two dimensional expression.  Drawing is the precursor of all written language. If you want to see how an artist thinks look at her drawings.

I believe in the craft and trust the ingenious expression that only drawing can convey. Fascination with the human condition as shown in the everyday movement, weight, tension, ease and torque of the body is my constant and continuing inspiration. All the art I make, drawing, painting or collage, is an exploration of how the spirit inhabits the body.  What does it mean to be human? Can I portray it with a few strokes in only a few minutes? The exploration is lifelong, endlessly fascinating, always challenging.

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. 

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.

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.

Urban landscapes are the places from which I draw inspiration, strength and comfort. Walking around busy streets, under highways, or in the weathered industrial edges of the city is how I reenergize and escape from the stresses of daily life.

When observing the environment around me, I often focus on one detail at any given time: a single color, texture or pattern of lines. This is reflected in the images where one color predominates, or where adjacent images dialogue with one another via shared lines. Highways, streets, girders, columns, and even the lines of a dress converge in these observations.

I often weave narratives into both my music and visual work, and as such each of these pieces tells a story. I invite viewers to look closely not only at the main colors, textures and subjects, but also at the small details and uncover these stories for themselves.