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AVAILABLE WORKS


All works are in a Limted Edition of
03 Prints only
certain works are UNIQUE

Mostly works on paper
Archival Inkjet print on Hahnemühle Photo Rag®
+ certificate of authenticity
certain works are printed onto 100% Cotton Hahnemühle Cézanne® Canvas

︎ see also ︎

send all your requests to nicokrijno@gmail.com






















       
All content copyright the artist
No commercial use without
express written permission.



This body of soft consequences 







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︎︎

Nico Krijno 2025 
are you having a physical or
mental   

experience with these images?
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FAQ (NATURE VS. CULTURE)


  1. im not interested in hunting for the perfect moment.  
  2. I use photography to create new worlds within my perceived reality, to ask questions about memory, photography and its (re)presentation
  3. I use analogue and digital tools to create my work, and explain the world to myself - i also use the clone stamp and the lasso tool.
  4. instead of capturing emotion i would rather like to evoke an emotional response within the viewer that is strangely familiar.  
  5. (Trompe-l'œil, Making strange, Verfremdung) Alchemy
  6. i do not work in linear series, but instead in one continuous and interwoven body of work. like a conversation that never stops,
  7. new ideas are constantly added, shifting over time, reprising old ideas and adding new ones.
  8. im not just interested in whats infront of the camera, but also what lies behind, underneath and just to the side of the frame.
  9. good ideas are more important than sharp and colourful pretty pictures
  10. Photographs should hardly ever be propped up with text
  11. This is also a lie
  12. The basic tenets of Gestalt Theory: Proximity, Similarity, Continuity, Closure, and Connectedness
  13. Gutt Feelings through my one right eye
  14. i use the tools of video, photography, and painting to create my art
  15. i can cite direct influences as coming from photographers, Michael Schmidt, Roe Ethridge, the legendary John’s Divola and Gossage, Lucas Blalock and Robert Cumming (also Richard Tuttle)
  16. An image taken with a smartphone is just as important as an image taken on a large format view camera or a potato pinhole camera.
  17. I knew all of this before, but was unable to express it
  18. im interested in sculpture and form, but the main concern is the transformation created by the camera.  the thing becoming something else
  19. my work can be read as a sampler of photographic genres, portrait, landscape, nude, & still life images all sit next to each other to reveal and explore the medium and its limitations.
  20. the only aspect of my process that i value is my intellectual curiosity through experimentation. (strategy)
  21. The day i would start knowing where the work is going i would stop (goal)
  22. an ode to effort
  23. My work is inside my body. (mind/body/technology)
  24. I use what i find lying ‘around’ and convert and transform this debris through a kind of creative alchemy into a theatrical mise en scene
  25. This urban ‘jetsam and flotsam’ comes with its own knowledge, a built in aesthetic which i unearth and explore in my constructions
  26. Im Always trying to surprise myself, and come up with unsolvable pictures i havent seen before, to get beneath the surface.
  27. the indecisive moment
  28. i believe in the power of the single image, but im currently more interested in the role of associative patterns and the contiguities of perception revealed when images are sequenced in a book or on a wall
  29. As the internet is flooded with generically “stunning” AI (slop) images causing visual fatigue - i feel a rapid rise in a counter image.  Photography as a truthful index of reality is disintegrating
  30. What is this image of? If anything can be faked, does subject matter matter?
  31. A lo-fi Polaroid of your lover will one day feel more radical than a billion Midjourney meltdowns 
  32. The near future of photography is ‘post gloss’ grainy and unpolished, tactile, raw, celebrating error, embedded work—film, damaged negatives, timestamped chaos—to assert presence











































'COLLAGES 2020 - 2022' Publisher: ArtPaperEditions. 14,5 × 19,5 cm pages: 448 'COLLAGES 2020 - 2022' Publisher: ArtPaperEditions. 14,5 × 19,5 cm pages: 448 'HOW TO LEAVE YOUR BODY BEHIND' Hardcover, b.frank books. Dimensions: 20 x 25,7 cm pages: 128 'NEW GESTURES' Hardcover, L'Artiere. 24,5 x 30,5 cm pages: 96 'COLLAGES 2020 - 2022' Publisher: ArtPaperEditions. 14,5 × 19,5 cm pages: 448 'THE FLUID RIGHT EDGE' BADPAPER EDITIONS, 2 books 42 x 29,7 cm 'Synonym Study' 215pp., 4to., b/w & colour illus., hardback, (Cape Town), 2014





Installation The Mouth of Time © Nico Krijno Image : Alizée Quinche Installation Collages 2020 – 22 © Nico Krijno Image : Alizée Quinche





Nico Krijno is an artist who explores photography,
at the intersection of collage, painting and video
Probing the boundaries of each, resulting in unique abstractions:  

An intertextual dialogue opens up between his artworks, and allows for a surprising tone to the assemblage. Krijno describes the process of photographing these ephemeral structures as a private physical performance, with the camera being the audience.

Often working with discarded found materials, he interprets and re-organises them in a non-linear manner in the pursuit of finding alternative structures for how meaning and matter are constructed and perceived.

Using his body and movements based on gestural abstraction, creating a direct link between the body and the natural flow. Re-introducing a dynamic relationship with nature, bringing nature back into the world in reaction against the man-made- manufacturing process

With a filmmaking background, working in the theatre and experimental video fields both as video editor & cameraman.  Nico Krijno switched camps to the field of visual arts around 2008.

His photographic practice with its focus rooted in process and experimentation is realised in a variety of media, formally and technically diverse. combining analogue and digital and cameraless tools resulting in participatory installations, sculptural interventions, video+sound 

He has exhibited work across Europe, Asia and the US, and worked for major brands like  Givenchy, Caron, Loewe, Kartell




RECENT NEWS


DOWNLOAD CV 🕳️

L’Appartement – Espace Images Vevey

Sport in FocusCOLLECTION OF THE OLYMPIC MUSEUM AND PHOTO ELYSÉE 28.03 – 18.08.2025

Groupshow: 21.11. - 06.12.2024 

On Archives 
THRYVE Group X ThirdSpace  ZURICH
thirdspace.ch

Arles, France (July 1 – September 29, 2024)
Olympism Made Visible,  partnership between the Olympic Museum and Photo Elysée

Paris (July 26 – August 11, 2024)
The Olympic Museum, in partnership with various locations to ticket holders during the Olympic Games
-
Maison de l’Amérique Latine, works from Olympism made Visible series

Los Raros/Las Raras, Nuevas Narrativas del Collage Contemporáneo, Valladolid, Spain, May 10 - 7 July 2024
Solo Presentaion at Asama International Photo Festival 2023 - PHOTO MIYOTA in Japan 7/15 - 9/3 2023

SOLO SHOW: Resistance Relapse  29 June — 12 Aug 2023
Huw Davies Gallery / Photo Access Canberra Australia

Group Show: Distortion: Where to Now? Cultural Goods Gallery Toronto, Canada

Recent: Past

The Constellation ,The Ravestijn Gallery, 21 January - 4 March 2023


One of a kind - 10 year anniversery show with unique pieces.
The Ravestijn Gallery  3 September - 22 October


BELFAST PHOTO FESTIVAL. 2-30th June 2022 Solo outdoor Presentation ︎

Screen Age III: Still Life - RIGA PHOTOGRAPHY BIENNIAL 2022, April 22 – June 12| Riga Art Space,Latvia.  ︎︎︎(Installation)

ART ROTTERDAM. GROUPSHOW THE RAVESTIJN GALLERY, Rotterdam 19 -22 May 2022
Exclamation Mark | The Ravestijn Gallery, Amsterdam 12 March - 23 April 2022
Subject Object Exhibit @ Saint Lawrence University, Brush Art Gallery
January 19 – February 26, 2022 Curated by Sarah Knobel
THE CONSTRUCTED IMAGE. GROUPSHOW THE RAVESTIJN GALLERY, AMSTERDAM
17 July - 11 September 2021
UNTITLED, ART Miami Beach,Online Viewing Rooms Dec 2,3,4,5,6
The Henie Onstad Triennial for Photography and New Media Oslo, Norway February 21–May 16, 2020

this site is a bridge

under construction.



Would you like a guide or will you venture on your own?

01
y

a ladder.          x
xxy

this site is a mirror
Xnk

i have no answers
only questions   questions about photography
questions about today,
its the 4th of March 2025, Paris
and im sitting on the floor typing on my notes app:

[Pay attention to fleeting thoughts]
artmaking as spiritual practice
in times of constant uncertainty, radical upheaval and transition (impermanence)
(a constant work in progress)

1.b
The trouble in the world is not there to defeat or to harm us,
but to awaken us to the unlived lives within us 
the longings and the callings that our souls would have us follow

How do we make work about the ‘now’ ?
Where are we even now?

Have we perhaps over adapted to a world that cannot give us what we are looking for?
(toxic resilience)
The old world is dead, the new one is not here yet.  The world you want to be in, isn’t here yet.

This place isn’t a place, It’s a moment—a moment where everything collides, where time is stretched, folded in on itself


2

What is it that we need most in a time of radical uncertainty and upheaval?
What is being magnified by all the radical instability? Perhaps we have to rethink the idea of community* as society gets more divided and polarised by extreme ideologies

When most levels of nature and aspects of culture are simultaneously manifesting disruptive symptoms, we have a greater need for symbols that can remind us of the underlying unity and beauty, that could help us find ways to connect the moments we are living
no matter how broken they might seem