A woman with short brown hair and blue eyes, wearing a black blazer, sitting in front of a colorful abstract mural with various brushstrokes and colors. Photo by © Davy Denke

Photo: Davy Denke

Nana RHB is a Danish multidisciplinary artist whose ultra-contemporary practice spans painting, sculptural objects, and spatial installations. Her work is structured around the interrelated concepts of Performativity, Structure, and Color, through which she examines the artistic production of value and the cyclical processes of consumption and reuse.

Central to her practice is the transformation of cardboard—an omnipresent "readymade" of modern logistics. For Nana RHB, cardboard is not merely a material but a structural principle. She collects, cuts, and reconfigures fragments from diverse brands and everyday contexts into both monumental, modular installations and autonomous paintings. In these works, the geometric rigor of packaging enters into a dialogue with organic forms, exploring the tension between human-made industrial systems and natural ecologies.

A defining element of her visual language is the Neo-Overpainting technique. This process begins with the photographic documentation of her cardboard structures, which is then printed onto canvas or industrial tarpaulin. Nana RHB subsequently overpaints these images with high-chroma acrylic pigments. In addition, she often incorporates cardboard as a physical material directly onto the surface of these works—cutting, interlocking, and mounting fragments onto the canvas to create relief-like structures. These "spatial paintings" dissolve the boundaries between the documentary image and the painterly gesture, while also extending into sculptural form, allowing the material’s prior history—its traces of circulation and use—to remain latent within a new, vibrant painterly reality.

Nana RHB holds a BFA from the Hochschule für bildende Künste (HFBK) in Hamburg and studied at the Akademie der Bildenden Künste in Vienna. In 2012, she co-founded the collaborative duo Enfants Terribles, developing the ‘Popdada’ concept—also expressed through Laufbilder, a series of collages that combined different techniques, Dada, and pop, realized through exhibition photos and performative interventions. Her work has been exhibited internationally, including at the Changwon Sculpture Biennale in South Korea. She also serves as the co-director of the publishing and curatorial platform kunstmix.

Curriculum Vitae