Bio
Kristine Hinrichs is a Milwaukee, Wisconsin based photographer. She lives downtown and focuses on the urban environment which is an outgrowth of her training and interest in urban planning. She shoots with the Olympus mirrorless camera system.
Her work has been featured in several juried exhibitions – the Racine Art Museum’s Biennial Wisconsin Photography 2018, 2020, and 2022, Racine Art Museum Triennial “Racine and Vicinity Show 2021 All Media Juried Competition”, Plymouth Art Center “Alive in the Arts” in 2020, 2021, 2022 (1st Place), and 2023, several Praxis Gallery exhibitions, CoPA Milwaukee, Art Bar Milwaukee 2019, 2021, and 2022 (Best of Show 2019), Appleton’s Trout Museum SECURA “Fine Arts Exhibition” in 2020 and 2021, Trout Museum “TMA Contemporary 2023”, two images commissioned for the Trout Museum “Groundbreaking”, Wausau Museum of Contemporary Art Exhibitour 2022 (3rd place), Midwest Photography Center “Emerge 2021”, Museum of Wisconsin Art, Artless Bastard, International Photography Hall of Fame annual juried exhibition, White Bear Lake Center for the Arts “40th Northern Lights Juried Art Exhibition” (Judge’s Choice), and several others.
She is a member of the Milwaukee Coalition of Photographic Arts (CoPA), Photo Midwest, the Milwaukee Artist Resource Network (MARN), Wisconsin Visual Artists, and several other arts-related organizations.
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Artist Statement
I am a Milwaukee, WI based photographer who has shot every day for twelve years. Consistent with my interest in and training in urban planning, my images focus on documenting the city environment – movement, layers, serendipity, nuance - a re-imagining of the urban landscape. My photography is all about layers, reflections, movement, and the relationship between the elements in my images. I want the viewer to wonder what they are looking at - whether they are looking through a window or at a reflection or both. I want them to wonder about and see the relationships between the elements of my images. I want to challenge their assumptions and initial reactions.
I have recently begun to translate the “hard” look of a paper or metal print to fabric, primarily silk. I have expanded my presentation to printing images as silk panels and hanging them in a series of three on a specially fabricated bracket. I print the base panel on 10mm Silk Habotai and the other two panels on silk gauze to provide transparency between the images and a lightness that provides movement in even the slightest breeze. The interplay of the panels and their movement in the air is consistent with my interest in the layered landscape. I find that this soft and luxurious silk provides a counterpoint to the hardness of the urban landscape that I photograph every day and adds something unexpected.
I am drawn to the movement of the panels – they are so light that they move in the slightest breeze.
I enjoy the challenge of printing on an unusual material – it has been eight months from conception of the idea to locating suppliers/fabricators to the problem solving required to print successfully.
