For Nils Westergard, making art is no longer a conscious decision — it’s simply the way his life is structured. Having created since childhood, art became a constant presence early on, something that shaped the way his mind works. Today, it functions almost instinctively. Like solving a crossword, he doesn’t overthink it; each day begins by picking something from an ever-growing project list and getting to work. His curiosity keeps pulling him into new interests, which inevitably circle back to his artistic practice, expanding that list even further.
The City as a Living System
Westergard’s work is deeply tied to place. As he puts it, art is made by people, and people are shaped by their environments. One of the clearest examples of this relationship is his bike series, created shortly after moving to Amsterdam. Wanting to truly connect with the city rather than fall into a studio–home routine, he began carrying a camera everywhere, observing every cyclist who passed by. This simple act of attention became a way of embedding himself into the rhythm of the city. Through it, he connected not only with Amsterdam itself, but with people who would later play important roles in other projects.
Richmond, however, remains the most defining place in his life. It’s not always clear where the city ends and where he begins — the two blur together — but its presence continuously informs his decisions, perspectives, and visual language.
From Grey to Color
For a long time, Westergard worked almost exclusively in shades of grey. The choice was partly practical: black and white paint were affordable, portable, and endlessly versatile. With just two bottles in a backpack, he could create a piece anywhere. As time went on, budgets grew and circumstances changed, allowing color to enter the work more freely. The process became messier, but also richer. Life, after all, exists in color — and embracing that complexity became a challenge worth pursuing.
The Invisible Work
Like many artists, what drains him most isn’t creation itself, but everything surrounding it. Administration, taxes, emails — the constant background noise of professional life. There may be a form of creativity hidden there, he admits, but it’s not the kind that feeds him.
Cinema as a Visual Foundation
Cinema plays a central role in how Westergard thinks about image-making. Having studied film, much of his visual vocabulary originates there. He goes to the movies often, and his older sketchbooks are filled with printed screenshots from films rather than traditional drawings. Still, when he encounters an exceptional painting or sculpture, the impact can be even stronger.
Other art forms, like dance or fashion, don’t resonate with him in the same way — though he respects them. That distance made working on a piece about German choreographer Pina Bausch particularly interesting, forcing him to transform respect into genuine appreciation — an exercise he values deeply.
Art Beyond the Screen
When asked what he would like to see change in how we experience art today, his answer is direct: fewer phones, fewer screens, and more physical presence. Art is tangible, human, and real. If we limit our encounters to digital representations alone, he warns, we risk handing it over entirely to artificial intelligence.
Leaving Space for Interpretation
Westergard resists defining what viewers should feel when standing in front of his work. Each piece carries its own motivations and intentions, making a universal answer impossible. If there’s a single hope, it’s simply that people truly see the work.
Influences and Sound
Among the artists who have shaped his thinking are Beth Cavener Stichter, Michel Gondry, ARYZ, Aesop Rock, and Banksy — a figure often criticized, yet, in Westergard’s eyes, undeniably effective. “Doing so much with so little demands respect,” he notes.
Music accompanies his process, though not in a specific or sentimental way. If he had to choose, anything by Aesop Rock would fit.
Looking Forward
When it comes to future voices worth highlighting, Westergard points to his fellow MSC crew members, as well as artists from his hometown: Emily Herr, Ian Hess, Eli McMullen, and Matthew Rea — creators rooted in place, process, and persistence.
In Westergard’s universe, art isn’t a moment of inspiration. It’s a daily act of observation, connection, and commitment — a way of moving through cities, through time, and through life itself.
You can follow him on Instagram to explore more of his work, or visit his website directly.
