In Human Processors human figures, geometric bodies and spatial structures are arranged to form complex human/technical processing systems, merging into a homogeneous intermedial network of relations. In the dialogue between the divergent elements in the image structure, with the use of intense colour and strict geometry, the figures simulate order sequences in computer-generated synthetic image spaces.

— Magdalena Koschat

In Nina Rike Springers Serie Human Processors werden menschliche Figuren, geometrische Körper und räumliche Strukturen zu komplexen menschlich-technischen Verarbeitungssystemen angeordnet und fusionieren zu einem homogenen intermedialen Relationsgeflecht. Im Dialog der divergenten Elemente im Bildaufbau, mit intensiver Farbigkeit und strenger Geometrie simulieren die Figuren Befehlssequenzen in computergenerierten synthetischen Bildräumen. 

At the centre of Nina Rike Springer’s approach to her art is the human being, represented by her as a depersonalised body, a kind of object-like shell, in precisely “through-composed” image worlds. Detached from real human movement sequences, her figures transfer movements and positions in strict, exaggerated postures into bizarre image spaces, becoming narrative agents in the area of tension between object-like stasis and representative action.

— Magdalena Koschat

In her ‘Faltenleger’ (Folder) series, Nina Rike Springer presents her figures as performing actors in artistic interplay with fabrics and folds, with the entire image composition following a precise order, as is characteristic of the artist. The artistically draped fabrics at the centre of the images force the performing ‘folders’ into the black background at first glance. This background, along with the topic of drapery, evokes connotations of art history.

— Magdalena Koschat