Solo Exhibitions include (Upcoming) Kristin Hjellegjerde Gallery, Berlin, Germany (2025); Hans Alf Gallery, Copenhagen (2024); Kristin Hjellegjerde Gallery, West Palm Beach, USA (2024); Wild Roars In Calm Corners, Nino Mier Gallery, Los Angeles, USA (2023); Hooked on Neverland, Kristin Hjellegjerde Gallery, London, UK (2023); Between A Rock And A Hard Place, Hans Alf Gallery, Denmark (2021); Art Rotterdam, Mondrian Fund, Concepts and Prospects, Rotterdam, Netherlands (2020).

Group Exhibitions include Cute and Catty, Museum MORE, Netherlands (2025); Licked by the waves, Museum MORE, Netherlands (2024); CAN Art Ibiza, Kristin Hjellegjerde Gallery (2023); DontGiveADamns II, Volery Gallery, Dubai, UAE (2023); Where the Wild Roses Grow, Kristin Hjellegjerde Gallery, Schloss Gorne (2023); Celesticore, BREACH, Miami, USA (2023), Art Rotterdam, Gerhard Hofland Galerie (2022); Uprising, Schloss Görne, Berlin, Germany (2022); In Momentum, Kristin Hjellegjerde Gallery, London (2021); Richard Waar, Pictura, Dordrecht, Netherlands (2021); Last Days Of Summer, Eve Leibe Gallery, Milan, Italy (2021); Enter Art Fair, Hans Alf Gallery, Kobenhavn, Denmark (2021); CAVE CANEM, Eve Leibe Gallery, London, UK (2021); WATCHLIST, Galerie Droste, Wuppertal, Germany (2020); OUTBREAK, curated by Wobby.Club, De Pont Museum, Tillburg, Netherlands (2020); Wunderwall, Plue-One Gallery, Antwerp, Belgium (2020); Gallery Sofie Van de Velde, Antwerp, Belgium (2020); To Paint Is To Love Again, curated by Olivier Zahm, Nino Mier Gallery, West Hollywood, California (2020); Late Night Pasta, Naarden, Allard Wildenberg Projects, Naarden, Netherlands (2019) (duo show); Universes Show 2, curated by Sasha Bogojev, The Garage Amsterdam, Amsterdam, Netherlands (2019); My Biggest Small, Showhouse JayJay, Antwerp, Belgium (2019); Velvet Ropes, GIFC, Antwerp, Belgium (2019).

On the surface, these are all scenes of repose, but an undercurrent of tensions lingers. Take, for instance, the painting in which two figures sit on the banks of a river, playing the guitar. Around them, the world seems to pause, expectant: a tiger rests further down the river, its mouth slightly ajar; birds sit motionless in the trees; the sun burns a deep red. Elsewhere, a snake coils around the trunk and branches of a tree, poised to strike while in another work it is a swan that becomes the uncanny presence, emerging from behind a tree in the foreground while in the distance, figures bathe in the bend of a glassy river.

We could endlessly unpick the art historical references and symbolisms in these works, but Kokke is more interested in the suggestiveness of colour and line – how they shape the gaze and play with collective memory to create moments of familiarity and intrigue, tension and calm. This is not an act of deception but an invitation. The rough texture of chalk paint lends the works a raw, almost primal quality, while depictions of water and impressions of softness in the leaves of the trees and grass evoke a strong sensuality the softness of leaves and grass evoke a visceral sensuality – a language both universal and deeply rooted in the body.