Tine Isachsen on Tactile Sensibility
In the self-published Heat Climbs the Body – a collection of selected works from 2015-2021 – artist Tine Isachsen combines raw edge with tactile sensibility. We sat down with Tine to discuss her new book, and what inspires her artistic tone of voice.
Ambi: First of all, congrats on your new book. Can you tell us a bit about how it came it life?
Tine: Thank you! Initially I had a plan to make a catalogue of my work that I could use for promotion. As I use Instagram as a platform, I thought it would be nice to make something that is more tangible like a catalogue. But as time progressed, I changed my mind. There is already so much mass-produced print out there, or mass-produced things in general, so I wanted to do something different.
I decided to make a limited-edition art book with handmade qualities. I am a big fan of everything tactile that appeals to the senses, and it really suits the sensual expression of my drawings.
I was already in contact with Italian music producer Omar Contri for another project at and we came up with the idea to make a special track for Heat climbs the body. For me this is more than a book, it’s like a mini exhibition and ongoing art project.
Personally, I love how your drawings have such an edge/rawness to them, but are also so feminine and sensual at the same time. I'm guessing that's deliberate, but what's the thought process going into it?
I am not sure if it is so deliberate, actually. That’s the thing – I try not to think too much before I draw. Then you lose the edge and the rawness of the line. Instead, I try to be mentally in a place where I am very aware or present.
I see myself as a vessel when I draw, and the lines travel through me rather than the other way around. I like to dive right into to the process and if I start to think too much the magic is lost. I used to try and control the process of drawing before, now I want to lose control instead.
I am more fascinated with the gentle than the macho, so I like to combine the soft and sensual with wild lines. If the drawings are just feminine and sweet, they become boring. Femininity and sensuality have their own strengths. I don’t know if you can escape your sex. Every drawing or portrait is a self-portrait in a way. You can’t escape who you are, your identity as a woman or mental images of what a woman should be like.
There's a painting in your book that's a young girl's face on a blue background, and she has these really intense eyes. I feel like I can stare at that one for hours, and get totally lost in all the emotions it stirs up in me. Can you tell me a bit more about this particular drawing?
Hmmm, this is kind of hard to answer. The painting is called Hard time for dreamers. The inspiration was footage I found of a young girl at an adult dinner party. She was looking right in the camera – looking very bored, but with a challenging gaze. It fascinated me. I have made several versions of this photo and this time I painted this girl as a grown up. Still fed up with the status quo. Originally, I painted over a much softer portrait with digital oil using my iPad. I love the intense angry mask she is wearing in the portrait. Like she is still asking the same questions a child would. To just wake up and wonder how society have decided that this is such a great way to live your life. We have separated ourselves so far from nature, we don’t even recognize ourselves.
I went to your book launch with a friend of mine and she also commented on the power and richness in how you draw, or paint, eyes. How would you describe the role eyes play in your art?
Most of our sensual data comes from the ability to see. The eyes absorb impressions, and translates it to feelings, memories, lust and all other human variety of self-expressions.
Our eyes are how we recognize each other and establish intent. Trough eye-contact we can empathise and connect. It is the most important organ in our body for many reasons. The eyes or the gaze can be used to control, too supervise, through our direct gaze we send signals and unspoken communication to others. I think the eyes have a lot of power and energy. As a teenager I was really fascinated by Firestarter by Stephen King, where the main character would set things on fire with her mind. The Power of thought comes through our eyes. The symbol of the eye is also a powerful reminder that the reality as we see it has several layers.
You also draw on a lot fashion influences in your work. Is that body of work mainly commissions, or do you find inspiration in fashion in general?
When I first started doing fashion it was commissioned. But I also find a lot of inspiration in fashion. Especially underground fashion and the more experimental stuff. I see fashion as art's more playful younger sibling. What I find inspiring is their devotion to the handmade craft, their playfulness, and that they are always the first to pick up on trends in society in general. Where art is more introvert, fashion is extrovert.
What else would you say inspire your work? And how do you manifest your ideas, what's the creative process like?
Oh, so many things. I am always looking for an emotion or expression, but it's not like I a carry notebook around and draw sketches or write down my ideas. I like to study people, on the bus, trains, cafes, I listen to people’s conversations, and try to be aware of the small details in everyday life. I also find a lot of inspiration online and from accounts I follow. The internet is a treasure chest of ideas and For my erotic drawings I find amateur 70’s porn to be very interesting. Their natural bodies and innocence are a strong contrast to our plastic bodies and mechanic lovemaking.
Do you have any other projects coming up? Where should we look for you next?
Right now, I am working on a paint/draw project on human form with Omar Contri. I want to take drawing away from the canvas and more into reality like performance. I am also planning a solo exhibition that will happen in 2022.
Omar Contri on Tine’s work
Tine is SOMEONE WHO APPRECIATES the MESS. SOMEONE WHO JUST RADIATES A CREATIVE BACKBONE ENTIRELY from HER OWN. It's all about dissonance I used this effect in every single sounds, in order to re-create this messy of lines, typical of Tine. The fusion of arts is the best way to give to the audience a perfect feeling. It's like a personal & private exposition; you can watch the book, and listen the soundtrack, in the same times. Dive in!
You can check out Tine Isachsen’s work, and buy her book Heat Climbs the Body here >
Words: Lene Haugerud