“Kristina Delmeire is an artist who creates very powerful graphic work.
Large drawings, woodprints and line engravings consist of an unmistakable monumentality. I can sence the enthusiasm of a searching artist. Form is essential and by making strong and personal compositions , she avoids cheap formalism. I see this as an testimony of mastership. This might be the most inaccessible work of the exhibition, but its authenticity is beyond discussion.

George Goffin on ‘Dialogue’, ‘Kings crown’ and ‘ Iceland’ series Exhibition ‘Artists of Merksem exhibit and invite’ 1995

“The mysterious, misty, almost ghost-like images of Kristina Delmeire remind us of the beauty and the uncanniness of nature.

Jan Van Woensel, curator of ‘No permanent landscape’ BADBOOT, Turnhout 2012

“If I had to describe the works presented here, words such as powerful, energetic, dynamic, strong, restless, pure and direct all come to mind. The exhibits are artworks for which you need to take a chair, place it in the middle of the room, sit quietly, look and keep looking… and perhaps start dreaming. Travel within the world of the artist, or maybe not, but start fantasizing whilst losing track of time and space.

Koen Palinckx, District mayor of Ekeren on ‘One and a half hours of magenta’, 252cc Ekeren 2016

“The essence of things is the most important issue in Kristina Delmeire’s work. All the images, large or monumental, small or rather intimate, are drawn with passion. At the same time an undeniable fragility is present throughout the work. Some images have a strong physical awareness. Other images seem to restore balance. This exhibition rearranges thoughts. It is a story of vulnerability.

Peter Van Impe on ‘One and an half hours of magenta’ exhibition, 252cc Ekeren 2016

Kristina Delmeire has completed an education and important practice of graphic design. She is also busy with impressive large-scale charcoal drawings and she paints. Her landscapes are more of an inner nature, landscapes that unfold in the spirit of the artist, which are sometimes extremely difficult to enter, sometimes provided with traces of passages, of life that passes.

Daan Rau 2019 on ‘ Waar water samenvloeit met ander water’ exhibition, CACAOFABRIEK, Helmond 2019

The work of the Belgian Kristina Delmeire for example, is often melancholic in nature. She uses a wide range of media, but her handwriting seems to be strongly determined by a nervous line, formed by graphic techniques such as the dry needle. In many of her works, Delmeire takes natural elements as the starting point, but because of her sober palette, which mainly consists of black and white, it brings with it a mysterious threat. In a work such as Pittenweem, for example, she knows how to create the suggestion of swirling water with minimal means, which engulfs two rows of black boulders: in three stages the rocks are swallowed up by the sea.

Manus Groenen on ‘Waar water samenvloeit met ander water’ exhibition CACAOFABRIEK, Helmond 2019