Kyne Bernstorff – Art That Celebrates African Heritage, Women Disappearing Traditions

Painting the Soul of Africa

Kyne Bernstorff discusses her journey as an artist shaped by Africa’s and scapes and people, sharing how she uses color, storytelling cultural connection to honor the continent’s unique heritage.

Kyne Bernstorff’s art offers a profound and evocative glimpse into the soul of Africa. A Zimbabwe-born artist deeply inspired by her roots and the landscapes of the African continent, Bernstorff’s work embodies an authentic homage to its people, cultures sweeping vistas. Her paintings are not merely portraits but vivid narratives, often coloured by the resilience and spirit of African women. Through an immersive approach that includes meeting and connecting with her subjects, Bernstorff brings their stories to life with warmth, dignity an acute attention to detail. Her mastery of deep, resonant colours infuses each piece with the essence of her subjects’ surroundings, adding layers of context and emotion that make her work both visually striking and culturally rich.

Bernstorff shares insights into her creative journey, reflecting on how her childhood in Zimbabwe and her extensive travels across Africa have shaped her artistic perspective. From her experiences painting in remote regions to her commitment to amplifying the voices and beauty of African women, Bernstorff’s narrative is one of admiration and respect. She candidly discusses her use of colour to capture the diverse hues of African landscapes and people how her work strives to raise awareness about Africa’s disappearing cultures and tribal traditions. Bernstorff’s art is a testament to her dedication to honouring the continent’s stories and safeguarding its heritage for future generations.

“Kyne Bernstorff is a powerful storyteller, capturing Africa’s beauty, resilience humanity with masterful brushstrokes, vibrant colors heartfelt empathy.“

In what ways did growing up in Zimbabwe shape your identity as an artist how do you believe this cultural background informs the themes and subjects of your work? 

Having been born and brought up on a farm in Zimbabwe, the love of the African bush and all its sounds and colours seeped into my life at an early age. I collected and painted everything, from butterflies, shells, animal skulls to flowers. Later I moved on to landscapes, then portraiture. 

Growing up surrounded by culturally diverse people intrigued me. My parents had lived in Kenya before my mother’s fascination with the various cultures and people she met whilst traveling through many countries, inspired me to do the same. The people, cultures as well as the land form the essence of my art, drawing me to depict their lives, traditions, customs and heritage into my painting. 

You mention the use of deep, intense colours in your paintings. How do you select and apply these colours to enhance the emotional narratives within your artwork? 

The deep, intense colours of my paintings are found within the people themselves and the surrounding landscapes. A black person is not black, a white not white. Everyone has specific colours and hues, be it tribal, cultural, geographical or from ethnic mingling. Therefore I see people as a diversity, not as specific racial groups. I delight in finding the various colours in skin and accentuating these complexions. 

Added to this is the surrounding landscape where the person is – deep blue-greens for the lush forests, turquoise blues for island people, yellow-brown hues for those of the desert regions, the reds and browns of soils – theses colours are a part of people, essential to those I paint, therefore I feel it is extremely important that the colours of their landscapes are brought in to intensify their narratives. 

What specific qualities or stories of African women inspire you to capture their essence in your portraits how do you strive to communicate their strength and resilience through your art? 

I have been writing stories since I was a child. I have a MA in creative writing, therefore the stories and narratives of the people I meet and paint are essential. I often find an interpreter to help. During the many hours of drawing and painting, stories of their lives unfold. I listen and attempt to portray the person as best I can through their stories, be they painful or proud, the eyes will speak. Therefore eyes are, to me, the most important part of the narrative. African women are extremely diligent, driven and indefatigable. I am always in awe of their resilience to their often exceedingly tough lives. Yet through it all, the women get together as they know the importance of bonding; they laugh, sing, create crafts, style each other’s hair, make jewellery and body art and most importantly they talk and share. They share their stories, their work, their homes and the care of their children; Western women can learn from this. And with so little they are always so welcoming – I have never not been invited into their homes or their lives. It is both endearing and overwhelming. This is the world and the narratives I wish to portray and share. 

During your travels across various African countries, how do the personal stories and experiences you gather from the people you meet influence your creative process and the final piece? 

Everyone has a different story, a different love, a different pain. Therefore each portrait will be different. Sometimes spending only a few moments sketching will bring more than days painting. Like sharing a cup of sweet tea with an elderly Masai woman before she disappeared through the thorny scrub with her goats as I was sketching – that painting became one of my favourites as the moment was fleeting but so strong. 

The people that I have met and the relationships that are often formed are incredibly profound and endearing this is what is so special to me, not just as an artist, but as a human being exploring the continent in all its beauty, contrasts and often disparities. 

Working with oil paints in diverse climates can be challenging. Can you share some specific obstacles you’ve encountered and how these experiences have shaped your artistic techniques or the final outcomes of your works? 

I work with oil it is often problematic as the drying process is difficult while travelling, with the sun, rain and dust, but this is what makes my finished canvases a part of that continent. My canvases hang where possible, they get wet from dew or storms or mud, the winds blow sand and dust then they travel in a dusty truck and this becomes a part of the actual portrait. It is often problematic, but for me, it is all part of the amazing process of painting in Africa. 

What message or awareness do you hope to create through your art regarding the rich tapestry of African cultures how do you envision your work contributing to the preservation of these traditions? 

I cannot preserve other cultures and traditions, except through my art. Traditions and cultures can only be preserved by the people themselves. Every person deserves the chance of education, though sometimes western education is not the only way forward. Learning comes in many different forms. Handing tribal traditions down into the next generation is extremely important. Many governments neglect the tribes that live far from the cities or those that are not part of the governing elite. Sometimes whole villages are forcibly removed or eradicated for mining or large-scale agriculture. The oldest tribes are being lost from neglect or greed. I hope that my art and portraitures of these people will raise awareness of the importance and wonder of human diversity and tribal protection. Our world will be so much poorer without such people.