Like The Golden Age painters Kirsa Andreasen seek the spiritual in nature. The romantic idea and the longing for transcendence is a driving force she shares with them, but at the same time, it is what is completely close and existential that is depicted, born of a need for simplicity and honesty. One may say that the work is portraying the spiritual and the consonance between man and nature. Art critic Torben Sangild puts it like this: 'Symbolism may also be reflected in her conveyance of something inner in the outer – her figures take on physical postures of inner conditions and literates sayings. Human figures complement the landscapes and are both formally alienated in the nature as well as part of it. Human beings are nature themselves and therefore the figures are nature in nature, yet at the same time something different. Besides, the landscape has itself given rise to the figure, so they are inseparable on multiple levels. It is important to understand the nature, not as a background, but as the exact drama from which the figures are born. The transparent bodyparts permits nature to shine through the figures, both reflecting nature in human and simultaneously revealing our flaws. Throughout the course of life we inevitably lose some mental body parts. We don't walk through life unharmed but loose and gain something along the way. Sometimes we melt, other times we break. Andreasen try to make this tangible in her paintings. The doublings may refer to the personal splitting. It may be when something inside us die, when we rape ourselves, or are at a cross road and choose the wrong road. The splitting may also be the doubt, the dilemma. We meet the essence of love but also the killing of the loved ones, we meet clarity and mental suiside.