Janine Seelen: Finding the Extraordinary in the Ordinary

The first time I laid eyes on Janine Seelen’s work, I wondered – what is this? Is it a graphic, a painting, a mixed-media, or a pastel? It was an instinctive viewer’s reaction, but in the end – it didn’t matter. Because the technique this exceptionally talented artist devised served as a foundation, it was always the backbone of a moment captured in time, a fleeting instance in time Seelen so keenly commits to memory.

Mundane objects, passable minutes, and (un)remarkable bits of life reach eternity in Janine Seelen’s work. Simultaneously, the most immersive element in all of them is the atmosphere she skillfully conjures. Her pieces are intimate yet universal, tactile yet unreachable, odd, and close to heart.

For the 2025 edition of the Discovery Art Fair in Cologne, I’ve had the opportunity to talk with Janine Seelen about her work and her latest series RESET., that she will present at the upcoming fair.

Everything is Connected

Ana Bambic Kostov: Your work creates an intimate atmosphere—familiar yet strange. How do you choose your subjects?

Janine Seelen: Everything is connected. I find my subjects when I step out of routine—traveling, observing, pausing. Often, we miss remarkable moments because we’re too distracted. But when I allow myself to stop and really see, spaces and objects reveal themselves to me. For example, in California, I was searching for the setting of Hitchcock’s The Birds when I stumbled upon an abandoned tennis court bathed in winter light. It was eerie and captivating. That’s when I knew I had found a new motive.

Ana Bambic Kostov: Your paintings encapsulate fleeting moments, much like a child’s realization that no two moments are ever the same. Does this idea influence your process?

Janine Seelen: Absolutely. That realization—that we can never truly relive a moment—drives my work. I’m fortunate to observe and capture these instances, knowing that many others are too occupied with survival or struggle. My art contains those thoughts, those reflections.

From Graphic Design to Sensory Painting Composition

Ana Bambic Kostov: Your background in graphic design is evident in the way you frame your compositions. How did the transition to painting happen?

Janine Seelen: My career in graphic design was successful—I co-founded a firm in New York, working with brands like Chanel and big publishing houses. But after 30 years, I felt empty. I wasn’t a good boss, wife, or mother anymore. A coach advised me to wait for the right moment to change course, and when a client’s e-mail finally pushed me to quit, I knew it was time. It took a year of self-exploration to realize I wanted to be a full-time painter. I started at 55, and many thought I was crazy, but it was the right decision.

Ana Bambic Kostov: How did you develop your technique?

Janine Seelen: I wanted to be physically close to the canvas. After years of working with a mouse and screens, I longed for direct contact. My medium—oil pastels with oil paint—was originally developed for Picasso. The sticks allow me to work with my hands, layering and scraping the surface, revealing hidden textures. I embrace unpredictability, letting the painting guide me.

Ana Bambic Kostov: Your colors seem muted, almost monochromatic at first glance. Yet, they are rich and complex. How do you approach color?

Janine Seelen: My blacks aren’t truly black, nor are my whites purely white. I mix hues to create depth and emotion—never using colors straight from the tube. The result is an impression, a moment suspended in time.

Ana Bambic Kostov: How do you feel about the people who collect your work? Do you imagine an ideal viewer?

Janine Seelen: Once a painting is finished, I let it go. If it resonates with someone—whether they buy it or simply engage with it—that’s all that matters. Some collectors want to hear my story, others create their own. That’s the beauty of art.

RESET.

Ana Bambic Kostov: At the upcoming Discovery Art Fair, you’ll debut your new series, RESET. What inspired it?

Janine Seelen: RESET. is a response to our times. The series features oversized depictions of switches, buttons, and dials—things we use every day without thinking. The inspiration came from my visit to the famous Chemosphere House in Los Angeles, designed by John Lautner in 1960. The motifs in these paintings are, in fact, details from photographs I took inside this iconic house. Initially, I was captivated by the space itself, but as I examined its interior elements—the intercom, light switches, and control panels—I became fascinated by their design and function. Stripped from their context, they become ambiguous. What happens when you press a button? Will a light turn on, or will something more ominous occur? It reflects the uncertainty of our world today.

Ana Bambic Kostov: There’s a quiet tension in that concept—something both familiar and unsettling.

Janine Seelen: Exactly. These works invite interaction. People instinctively want to push, twist, or turn them. Some feel curiosity, others unease. That’s the response I want—to make people pause and reflect.

Ana Bambic Kostov: Your artistic journey is truly inspiring. You’re proving that reinvention is possible at any age.

Janine Seelen: Thank you. I consider myself a “young old” artist. The art world is skeptical of newcomers at my age, but I’ve treated these past five years as my personal art school. Now, I’m ready to take the next step, whether through exhibitions or gallery representation. The Discovery Art Fair is a significant milestone on that path.

Ana Bambic Kostov: I look forward to seeing your work in person. Thank you for this conversation.

Janine Seelen: Thank you. I hope my paintings speak for themselves.

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All visitors will be able to enjoy Janine Seelen’s work at the upcoming DAF Cologne from April 3 to 6, 2025, at XPost, booth C16.

All images courtesy of the artist. Featured image: Janine Seelen – CONTROL., pastel on canvas, detail, 2025