Christensen's work evolved through distinct phases without ever losing its continuity. He often infused elements of his past work into his new work, balancing geometric order and passionate improvisation. Early in his career, his pioneering use of the spray gun set precedents for future artists, and earned him significant attention from critics and institutions.
Born in Cozad, Nebraska in 1942, Christensen was influenced by his early exposure to Jackson Pollock's work. After studying at the Kansas City Art Institute, he moved to New York in 1965, immersing himself in the vibrant art scene. It was there that he began using the spray gun, creating works that epitomized the Color Field movement.
Christensen’s early series, like the Grids and Bars, showcased his minimalistic approach, inspired by jazz rhythms. In 1967, he shifted to spray paintings, creating free-flowing, vibrant loops that reflected the psychedelic culture of the late 1960s.
In the 1970s, he experimented with new techniques, using squeegees to create his Plaids and Scraped paintings. These works introduced a new approach to geometric configuration, moving away from Minimalism’s rigidity. His Calligraphic Stains combined acrylics with tension breakers, producing gestural, action-packed works.
Returning to the spray gun in the late 1980s, Christensen created his Spray Portraits with spherical shapes and iridescent paint. His late works, including the dynamic Last Loops, showcase his mastery of form and color. Christensen lived in East Hampton until his death in 2007.
