Nele-Marie Franzen, born in 1985, is a painter based in Hamburg. Her work is characterised by expressive, large-scale compositions, vibrant colour, and an intuitive, dynamic painting process. Through layered techniques and bold gestures, she creates works that convey energy, emotion, and a strong sense of joie de vivre.
You live and work in Hamburg. What role do urban influences or Hamburg’s atmosphere play in your work?
I think Hamburg influences me above all in the sense that I truly love living here and feel happy here – and when I’m in a good place, creativity comes most naturally. Our children are growing up here, and our life is colourful and full of joy. Hamburg has a wonderful energy – calm and unpretentious, with friendly people, beautiful contrasts between water, nature and vibrant neighbourhoods. Hamburg feels both relaxed and breathtakingly beautiful at the same time. Perhaps it is precisely this positive energy that is reflected in my work. In any case, I always try to bring a sense of joie de vivre onto the canvas. And when the weather turns a little grey, colour helps all the more.
Can you tell us a little about your creative process – where does a work begin, and where does it end?
I usually begin with an idea, with a colour palette or a concept already in mind – but quite often, somewhere in the middle of the process, I take an entirely different turn. Very rarely does a piece end up exactly as I originally imagined it. I work a lot with squeegees or very broad brushes, so there is always an element of chance involved. The colours, the movements, the canvas – they guide me. Over time, I’ve come to accept this as an essential part of my practice, and I genuinely enjoy being surprised. I keep trying to be brave and to experiment on canvas, even when the outcome is completely uncertain. I mix techniques and constantly explore – that’s how I learn and continue to develop. And that development is my greatest focus. Painting is like sport – you have to practise every day and make mistakes in order to become truly good.
How would you describe the relationship between intuition and conceptual intention in your practice?
A new work always begins in my mind, and then quite traditionally with a blank white canvas. Sometimes, though, a new painting also emerges from an older work that I’ve set aside for a while in a “half-finished” state. Then it suddenly begins to evolve in a completely different direction. Every now and then, this leads to an exciting new concept – and if not, I simply prime it again or restretch the canvas. It is what it is – and intuition is everything.
How do you define the moment when a work is finished?
Deciding when something is “done” is, and probably always will be, the most challenging part of the process. Painting itself is one thing, but stepping back, observing, and judging is something else entirely – and that takes a great deal of practice. I often do it like this: when I feel a work is nearly finished, I hang it up at home. That way I walk past it every day and can sense whether anything still bothers me. Once nothing unsettles me anymore and I feel truly satisfied, then the work is finished for me.
What projects or exhibitions are coming up next – and what can we particularly look forward to?
My main focus this year is my solo exhibition at Hamburg’s Barlach Halle K in the autumn. It’s a truly special venue in terms of both scale and atmosphere – six-metre-high ceilings, abundant natural light, and an almost museum-like sense of calm. My large-format paintings come into their own beautifully in that space, and the atmosphere there is always wonderful.