Visit the Studio with Niki Kriese

The world is changing and we are all now consuming content solely online –– everything is virtual. We’ve been thinking about how to promote art and lift-up artists during this complicated time. Creativity is even more important right now and we, at Art in Res, always strive to bring collectors into the artist’s creative world. It’s been a challenge now that we’re all working virtually, not visiting one another, not seeing artist’s spaces in person (which we really love to do). All that is to say, we have been working to develop an inviting and inspirational space where our artists and collectors can come together to explore (virtually, of course) artists' unique creative spaces.

As collectors, we are all interested in the artist’s process. What places foster creativity? How does the studio inspire art? Here is a unique opportunity to get acquainted with individual artists and their practice from the comfort of your home. In addition to our scheduled curations and other posts, we’ll be sharing virtual studio visits with Art in Res artists on a regular basis––to keep you keyed into our artists and to share some of that good creative energy! We hope, down the line, when the world re-opens, this inspires you to connect with our artists directly and set up your studio visits in-person!

Now we’d like to share our inaugural visit with artist Niki Kriese. Join us as Niki takes us through her studio as painter, mother, and teacher.

What materials do you use? And why?

When I paint, I use acrylics. They have always provided me the most amount of flexibility and opportunity for experimentation and inventing my own rules.

At various points in my career I have used oil paint, but I felt hampered by many of the technical exactitudes –– it felt like all components had to be exactly right or else the whole thing goes south. Using acrylics, particularly when I was just starting out, allowed me to experiment, adding whatever elements felt right––from paper collage to household materials and found objects. I think it is also relevant to say that though I have considered myself a painter since my wee teens, I have often explored other art-making processes, including a ten-year foray into sculpture, installation and video. My methods, in those areas especially, were makeshift and scrappy, leaning into the vulnerability of "not knowing but trying".

What is your artwork about? What does it speak to?

My “about” is always evolving. I’m inspired by my surroundings, whether they are the sidewalks of a city, the landscaping of the suburbs, or the mountains surrounding my studio during a residency. At its most basic, I do think my work speaks to our human experience in the world––physically moving through it, emotionally interpreting space, negotiating interactions with each other.

Where do you get your inspiration?

Visuals are always my first spark––everything else seems to get uncovered during the working process. In recent years I have started working from small sketches, on paper or canvas, and usually many versions result from the same starting point. They help me find the bones of the image, both loosening up and narrowing down. I like the feeling that I’ve earned the image before even starting on the canvas. Once I’m working, I respond to what’s in front of me, but I am always surprised how the painting reveals to me parallels with human experiences. For example, gestures that accumulated in one work became a way of exploring casual physical touch in interpersonal relationships.

What is your typical routine when you get to the studio? Walk us through a typical studio day.

This has changed so much over the years. For most of my life, I would walk to my studio in the morning and have a set of getting ready rituals––like making coffee, tidying from the previous day, etc––before even looking at the work. I took my time, gradually re-acquainting myself with my work. I would work steadily, usually not noticing the day going by.

Since having children, of course, things are much different. I currently have my studio in my home, which is both a blessing and a curse. I can “pop in” when I have a moment, but I long for the protective bubble of the uninterrupted time I used to have. I do, however, cherish the [studio] moments I have, such as the quiet night time hours after everyone is asleep. And as most parents say, I have become more efficient; often I will know what I want to approach even before entering the room. But I look forward to one day returning to those meandering day-long sessions that allow for secrets to unfold.

One thing that hasn’t changed, I always like to work on multiple pieces simultaneously. I like thinking of my paintings as friends hanging out, exchanging information, maybe teasing each other.

Do you work at a particular size or scale? Why?

My small-medium sized paintings feel like friends––my larger work feels like someone I want to impress. I gradually increase the size of my work, but if I make too large of a leap, they feel too open and cavernous, without enough edges to bump up against. The scale affects the way my body operates in relation to a piece––sometimes I don’t want to be comfortable.

Do you balance another job in addition to being an artist?

Yes, I have a full time administrative job at a university, where I also teach. As I mentioned I am a parent––which is its own job––and I offer private art lessons for teenagers in my town. I am pretty lucky, since I need to have a full time job, that I have found one with people I truly like, performing work that is usually interesting. I work at an art school, so I have met lots of other creative practitioners and just interesting people and have been able to forge some collaborative projects. The fact that this was an entry into teaching is a huge bonus too. But, certainly, these are hours I would rather be in the studio. I use all of my generous vacation time as studio days, and it is always a little heartbreaking to return to work after an extended period, having been able to fully immerse myself and concentrate on my work. For now, traveling to residencies has been a respite, until the day I can fully support my practice [as an artist].

We hope you’ve enjoyed this special peek into Niki’s creative environment! Even in a virtual age, we encourage all budding collectors to take the time to connect with the artists you love directly.

We want to remind you of our awesome artist messaging feature directly on the Art in Res site––reach out now and foster that creative energy! Have more questions for Niki on her art and practice? Follow up with her directly via our messenger. We know she’ll be thrilled to answer any questions you might have. Ask about a specific painting or about her specific process in general––either approach works!