I’m a Copenhagen-based artist, and this series of acrylic works on paper began on a trip to China, where I spent time studying classical Chinese calligraphy. What stayed with me was the idea that the empty space around a brushstroke is as deliberate as the stroke itself. Painting the void is half the work.

Back in the studio, I began making fast, impulsive paintings on A3 paper with the same approach. Each piece reacts directly to the thoughts and impressions moving through me in that moment. Multi-limbed creatures, riders and hybrid figures emerge from loose, flame-like marks, held together as much by the white of the paper as by the paint. Each work is finished with a red seal stamp, a nod to the tradition that started it.

It’s the opposite of my usual practice. My oil paintings are detailed and built up slowly over long per