Kerstin Roolfs is a German-American artist whose work delves into the realms of portraiture, sports, history, and politics. Drawing inspiration from the philosophies of Plato, the poetic brilliance of Goethe, and the intellectual depth of thinkers such as Sloterdijk, Hölderlin, and Adonis, Roolfs infuses her art with layers of meaning and contemplation.
Having transplanted herself from Berlin to the vibrant artistic hub of Williamsburg, Brooklyn, in 1994, and later to the Bronx, NY, in 2016, Kerstin has woven her experiences and observations into a tapestry of thought-provoking artwork. Her pieces have not only graced the walls of solo exhibitions but have also been featured in group showcases across the United States, Canada, Russia, and Europe, including museum exhibitions in her native Germany.
Exploring the Abstract: “Kiss of Death” and “Truro MA”
Kerstin Roolfs’ art captures the eye and the mind with her abstract paintings, such as Kiss of Death (2024) and Truro MA (2024). Both are created using sumi ink and watercolor on paper, each measuring 22×30 inches. While her work often leans into abstraction, these paintings showcase her ability to incorporate hidden details and layered narratives, blending her philosophical ideas with vivid visual storytelling.
Kiss of Death (2024)
Kiss of Death stands out as an abstract painting in cubist style. At first glance, it’s an explosion of colors—purples, yellows, reds, blues, and green—that appear to move and interact. But with closer attention, the faces, seamlessly blended into the composition, come into focus, inviting a deeper connection with the artwork.
The title itself suggests a tension between passion and mortality, and the hidden faces add a sense of mystery. The cubist elements—the fractured forms and overlapping planes—create a fragmented yet cohesive whole. This is where Roolfs’ influences come through strongly. The philosophical depth of Plato’s dualism, paired with Hölderlin’s introspection on human existence, is subtly felt in the interplay between abstraction and recognizable forms.
Kiss of Death invites viewers to question what they see versus what might be hidden beneath the surface. It’s not just a painting—it’s an exploration of perception and the transient nature of life.
Truro MA (2024)
In Truro MA, Roolfs shifts the focus slightly while retaining her signature style. The painting shares the same sumi ink and watercolor medium and the same vibrant palette—purples, blues, greens, yellows, reds, and blacks—but the composition brings a new layer of intrigue. At the heart of the piece are two faces, both partially obscured, blending into the surrounding abstraction. They feel central yet elusive, as though they’re floating within the painting rather than being anchored to it.
Hidden in the background are a few eyes, scattered across the canvas. They draw the viewer in, almost forcing a connection. The placement of these elements feels deliberate, almost as if Roolfs is commenting on the act of observation itself. Who is watching? What is being seen? The questions linger long after one steps away from the painting.
Roolfs’ use of color here is striking. The vibrant hues don’t clash; instead, they coexist in a way that feels harmonious yet tense. The green and purple seem to pulse with energy, while the black anchors the piece.
Both Kiss of Death and Truro MA exemplify Roolfs’ ability to balance complexity and subtlety. The hidden faces and eyes within her work encourage deeper engagement, reflecting her philosophical inclinations. These paintings don’t just sit on the wall; they interact with the viewer, demanding time and contemplation.
Her work’s abstract nature allows for multiple interpretations, much like the writings of Adonis or Sloterdijk, where layers of meaning unfold the more one engages with them. The colors, while vibrant and playful, are never random. They carry an emotional weight, echoing the interplay of light and shadow in life’s experiences.
Roolfs’ art is both cerebral and emotional. Her abstract paintings draw from a well of philosophical thought and personal experience, merging intellect with intuition. Kiss of Death and Truro MA demonstrate her ability to create art that is visually captivating and intellectually engaging. They embody her journey from Berlin to Brooklyn and beyond, capturing a world where color, form, and meaning collide. These works are a reminder that art, at its best, is a conversation—one that never truly ends.
