Solo exhibitions include Wanderlust, Kristin Hjellegjerde Gallery, London, UK (2022); Textured, Helium Cowboy Artspace, Hamburg, Germany (2017); Still Life, Fifty24SF Gallery, San Francisco, US (2016); Solo Show, Gallery Hjorth, Horsens, Denmark (2016); Thoughts Of A Travelling Mind, Gallery Hjorth, Horsens, Denmark (2015); Redtape, Galleri Kirk, Aalborg, Denmark (2015).

Group exhibitions include In Momentum, Kristin Hjellegjerde Gallery, London (2021); Værkoversigt - When Sinners Feast, Galerie Wolfsen, Aalborg, Denmark (2021); Interconnected, John Wolf Art Advisory & Brokerage, Los Angeles, US (2021); Somebody, Hashimoto Contemporary, San Francisco, US (2020); Lately, Hashimoto Contemporary, San Francisco, US (2020); Group Show, Vra Contemporary Museum, Denmark (2020); Half Forgotten Dreams, Piermark Gallery, Sydney, Australia (2020); Group Show, Delphian Gallery, London (2020); NORTH Art Fair, Gallerie Wolfsen, Denmark Art Herning, Gallerie Wolfsen, Denmark (2020); Come Away With Me, Helium Cowboy, Hamburg, Germany (2020); We’re Still Here, Helium Cowboy, Hamburg, Germany (2020); I Bought My Wife A Painting For Christmas But All She Really Wanted Were Jewels and Pearls, Helium Cowboy, Hamburg, Germany (2020); LA Art Show, Red Truck Gallery, US (2018); Crisp, Helium Cowboy, Hamburg, Germany (2018); Group Show, Supercheif Gallery, New York, US (2018); SCOPE ART FAIR, Miami, US (2017); Masked Intentions, CASS Contemporary, Tampa Bay, US (2017);Cowboyland, Helium Cowboy Artspace, Hamburg, Germany (2017); Psychological Realism, Booth Gallery, New York, US (2017); Sensory Overload, Coreyhelford Gallery, Los Angeles, US (2017); Art Herning, Galerie Woflsen, Aalborg, Denmark (2017); Urban Eye, Galerie Wolfsen, Aalborg, Denmark (2017); Knotenpunkt, Affentfaust Gallery, Hamburg, Germany (2017); Urban Dawn, Beirut, Lebanon (2016); Scope Basel, Gallerie Wolfsen, Aalborg, Denmark (2016); Beneath the New Waves, Coreyhelford Gallery, Los Angeles, US (2016); Winter Group Show, Joseph Gross Gallery, New York, US (2015).

‘The feeling of wanderlust has haunted me my whole life,’ says Christensen. ‘I have a restless desire to move, experience and learn, and although I’ve spent many years travelling across the globe, I’ve never been able to completely satisfy that hunger.’ Whilst the artist is now, for the most part, based in Denmark, painting enables him to connect to his memories of travelling while also imagining new worlds. Part of this process involves embracing a spontaneous approach to image-making. Christensen rarely plans his compositions, and although he might refer to photographs that he’s either taken or collected, these are used more for atmospheric inspiration. ‘I paint my thoughts, things I’ve seen, read or listened to, textures and smells,  interactions between people,’ he says. As a result, each of his paintings incorporates a vast array of references to different cultures, fashions and beliefs which are unified by the artist’s distinct graphical style and controlled colour palette.

Interestingly, almost all of the images are framed by a patterned border that creates an illustrative quality and adds to the otherworldly atmosphere. For example, one painting depicts a giant two-headed snake wrapped around what looks like a two-headed hyena. Both animals are baring their teeth as if poised for attack and while they are precisely rendered in the artist’s signature style, there is a huge amount of power contained within their bodies. Meanwhile, visible brushstrokes in the blue background create a sense of movement and depth - it’s as if the creatures are tumbling through the night-sky or the depths of the ocean. In this sense, the border around the edge of the canvas serves to both contain the dynamism and elevate the image to an almost spiritual status.

This approach to image-making is partly influenced by the artist’s background in graffiti, but also reflects the influence of religious artworks on Christensen’s practice. ‘I visited many churches on my travels and always found myself drawn to the classical paintings, which often lacked perspective, meaning that the images were close to the surface of the canvas, like a carpet of information,’ he says. The same could be said for some of the artist’s own paintings, especially those which depict crowds of people. While Christensen uses bold, contrasting lines to delineate the patterns of their clothes and faces, the figures appear tightly overlapping to the point of merging into one another. This creates an odd impression of translucency that lends the figures a spectral presence. The figures’ blank, unseeing gaze is often directed at the viewer while their cheeks are tinged with orange as if they are glowing from within. In these works, the artist captures the intense, disorientating experience of walking through a foreign city or market, when your senses are overwhelmed, but also a feeling of distance and loss. The pervading colour palette of cool tones -  purple, green and blue - contributes to the melancholic atmosphere, but also serves to create a kind of liminal space - somewhere between night and day, past and present - that resonates with the notion of wanderlust and restlessness.

Also included in the exhibition are two smaller scale paintings of vases filled with colourful, blooming flowers. These works directly reference the tradition of still life painting, with the fallen single petal in each painting serving as a poetic memento mori - a reminder of the fragility of life. Although these paintings stand-apart from the more dynamic, crowded compositions, vases or pots are, in fact, a recurring motif in Christensen’s work, reflecting on history and his own approach to art-making. ‘Humans first created pots as a way of storing food and water, enabling us to move away from hunting and gathering,’ he says. ‘In a similar way, painting acts as a vessel for my experiences and a release.’ In this sense,Christensen’s paintings are not simply works of nostalgia or romanticism, they are expressions of a freedom found in creativity.