Summer Hillside
A hillside in high summer — but the sky is already changing. Dark greens and yellow-greens press against a foreground of open, nearly unpainted paper, while the sky shifts from grey-blue to violet at its edges. The energy in the vegetation — scored, spattered, worked wet into wet — catches the restlessness of a landscape just before the atmosphere tips.
Series: Landscape as Process
What it feels like to be in a place it at a particular moment is the source of my inspiration. The quality of light as it transforms the surface of a field. The way wind makes the landscape restless, legible only in movement. The smell of turned earth or dry grass that arrives before anything is seen. The slow shift of colour as the hour changes.
These are paintings of the conditions that make a place momentarily itself — the natural conditions that alter perception, that make the same valley or coastline feel entirely different from one hour to the next. The starting point is always a specific sensory experience, a moment of acute attention.
In the studio, that experience is translated into material process. Layers of papers, natural pigment, wax, and arcylic are built up, scraped back, reworked. What remains is a record of an encounter and the experience of the place.
All works 2026. Available — enquiries welcome → kristienring.com/acquisition-enquiries
Landscape as Process: Weathering Terrain
Wind, rain, frost, sun — the forces that work on a surface over time, that make a landscape legible as duration rather than image. The surface of this painting carries those same forces: layers of earth pigment and wax built up and stripped back, a horizon line that has been arrived at through accumulation rather than drawn.
Mixed media: natural pigments, papers, pastels, acrylics, wax, oil paint on canvas panel
24 × 30 cm — (optional) ‚pannello‘ open frame in beech wood (5mm thickness × 10mm depth)
Price 480€
Landscape as Process: Lightness
There are moments in a landscape when the light becomes the subject — when everything else, the ground, the horizon, the vegetation, recedes and what remains is luminosity itself. This painting works toward that condition. Layers of pale pigment and wax have been built up and worked back until the surface holds light rather than reflects it. A landscape at the threshold of visibility, present but barely so.
Mixed media: natural pigments, papers, pastels, acrylics, wax, oil paint on canvas panel
24 × 30 cm — (optional) ‚pannello‘ open frame in beech wood (5mm × 10mm depth)
Price: 480€
Landscape as Process: Symbiotic Mater
The ground is source: not backdrop but origin, the living system from which everything visible grows. The colours here are the colours of that system in full operation: the deep greens of active vegetation, the ochres of dry summer soil, the grey-brown of earth that holds moisture. The smell of this landscape is almost present in the surface — organic, mineral, alive.
Mixed media: natural pigments, papers, pastels, acrylics, wax, oil paint on canvas panel
24 × 30 cm — ‚pannello‘ open frame in beech wood (5mm × 10mm depth)
Price 480€
Landscape as Process: Meridian
This painting is concerned with that quality of light at the height of the line the sun traces: not warm, not dramatic, but absolutely present, flattening colour and shadow into something more elemental. Horizontal bands of pigment and paper compress into a landscape that is more geological than painterly. The surface reads differently as the actual light in a room shifts across it through the day.
Mixed media: natural pigments, papers, pastels, acrylics, wax, oil paint on canvas panel
24 × 30 cm — (optional) ‚pannello‘ open frame in beech wood
Price 480€
Paintings in Acrylic and Multimedia
Acrylic combined with natural pigments, papers, wax, earth and mineral powders becomes less a paint and more a building material: something to layer, press, scratch into, work back. The surface accumulates decisions rather than recording a single gesture — each layer altering what came before, and in turn altered by what follows.
These works sit at the intersection of painting and materiality. The process is closer to geology than to traditional painting: time is embedded in the surface itself, visible to anyone who looks closely. In this way the medium and the subject are the same thing — both are about accumulation, erosion, the slow transformation of material over time.
This is also the medium where the connection between studio practice and permaculture work is most directly expressed. The same sustained attention to ground, to layer, to what lies beneath the surface, runs through both.
Enquiries welcome → kristienring.com/acquisition-enquiries
Experiences—from our visitors
Santa Maria Toscana is a place to experience nature and art focused workshops, including self-sustaining organic gardening and cooking, together with creative arts activities.
Thank you @She Who Saw: for sharing your experience!