René Tromborg (born 1972 in Copenhagen) is a Danish painter and a distinctive voice in contemporary geometric painting. His works combine the clarity of the Bauhaus movement with the vibrant energy of street art, creating a dialogue between architectural precision and emotional expression. We interviewed him in January 2026 - during our group show "Catching Light".

I’m curious about the significance of color in your work. How would you describe your relationship with your palette? It’s often difficult to put a feeling into words - it seems so much of it is based on intuition.

René Tromborg: You’re right; a lot of it is pure intuition. But of course, that intuition is shaped by everything I’ve observed throughout my life. A major influence is my background in graffiti. When I was a teenager, I did a lot of it, and that’s why I always try to experiment with different colors rather than sticking to the same ones. It’s a real challenge to constantly monitor, scale, or alter the palette to implement more variety, but I love the process of finding what looks good together instinctively.

Graffiti is often associated with a "rebel" spirit, which seems almost contrary to the clean, vibrant lines and the Bauhaus references in your current paintings. Does that younger, rebellious self still exist in your work today, or have you moved past those early influences?

René Tromborg: The game is different now, but the foundation is the same. Doing graffiti on the street required a mix of adrenaline and technical precision; you had to be a fast technician to finish a piece in a short amount of time. That required heavy preparation—sketches, planning, and practice. I’ve carried that into my studio. I do extensive sketching before I ever touch the canvas, constantly changing perspectives, lights, and shadows. Beyond that, because I grew up doing graffiti before the internet, everything was "learning by doing." I’m self-taught in both music and art. That "outsider" approach allows me to break unwritten rules. In graffiti, there are strict rules about how letters should look and where shadows should fall. In my current work, I intentionally use "wrong" shading or impossible perspectives to push the boundaries of the object and challenge the viewer's perception.

You spent several years producing music in Brooklyn, NY before focusing on painting. Is there a connection between your musical side and your artistic process, or do you keep those worlds strictly separate?

René Tromborg: They are different, but the approach is very connected. When I produced music, it was all about brainstorming. You’d go into the studio with no ideas, meet an artist, and build something instantly—throwing ideas back and forth, modulating them, and pushing them in new directions. I use that same "modulating" approach when I sketch. I’m essentially brainstorming with myself, refining the "sculpture" of the sketch until it feels right.

As for listening to music while I work - I actually find it distracting. After so many years in the industry, I have an "analytical ear." I start deconstructing the bassline or questioning why they made a certain production choice. It pulls me away from the painting. So, I usually prefer podcasts, the radio, or even just painting in total silence.

You’ve mentioned that you enjoy traveling and connecting with other artists. What is it about being a painter in this specific moment that you find most satisfying?

René Tromborg: Honestly, it’s the physicality. In music, you might send a digital file to the United States, it gets released on a streaming platform, and it exists out there in the ether. You get some sales data, but you don't feel the impact. With painting, I’m producing something tangible that I can hold, move, and hang on a wall. It’s a much more direct experience. Seeing someone take a piece into their home and enjoy it is incredibly satisfying.

It seems like the art community offers a different kind of connection than the music industry did.

René Tromborg: Definitely. To me, the art community feels much more open. In music, it often felt like we were competitors. Here, it feels like we are lifting each other up - sharing opportunities and supporting one another. Since everyone’s style is so unique, there’s no reason to be competitive.

Let’s talk about your titles. Do they emerge during the process, or do they only come once the work is finished?

René Tromborg: I title them after they’re done. I’m really into wordplay and song references. A title might play off a specific color or a shape that looks like a letter. I try not to be too literal; I don’t want to call a painting "Green Box." I want the title to be fun and leave enough room for the viewer to bring their own interpretation to the work.

Finally, if someone walks into the gallery and sees your work for the first time, how would you suggest they approach it?

René Tromborg: I’d tell them to look closely. I don’t use tape or any mechanical gadgets; everything is painted freehand. If you look at the lines, you can see that "analog" feel—it’s not a laser-printed line. I’d also suggest they move around. Because I use multiple conflicting perspectives and shadows, the object changes depending on your angle. If you take a moment and look from a few different spots, you’ll usually see something you didn’t notice at first.

Thank you very much René.