Frank Nitsche uses a sophisticated pictorial language, an abstraction characterised by shapes that he creates by overlapping layers of paint and intersecting lines in order to find the desired design. Geometric shapes and lines are arranged in abstract (and sometimes aerodynamic) compositions that are partly inspired by Constructivism and that might remind you of the blueprints used in architecture or design or even of computer programmes. However, despite the constant allusion to contemporary designs (computers, mobiles, trainers, etc.), it is not possible to refer to any example in particular, since all of them intermingle with each other and result in indecipherable shapes. Based on flat shapes that the artist usually distorts and interweaves, and considering that he doesn't use any sort of computer support and yet deliberately gives you the impression of something industrial and technological, Nitsche produces his paintings in an artisanal, thorough and corrected way. The evocative and synthetic nature of his works hides social reflections and criticism. He applies a unique pictorial logic when developing each one of his works, as according to him there is no seriation and the formats are not even subject to standardisation. Nitsche fully dives into the painting process once a shape has been added, reacting to it in the subsequent stages, erasing existing parts, painting, adding, erasing other parts, painting again and so on until he obtains a structure with the tension, rigour and dynamic he is looking for.

Some of his large-size works are compositions that feature details he has obtained from his personal collection of strange and absurd images. The artist's visual archive plays a key role throughout the entire creation process, since it helps him find his own language. The media, pop culture and consumption trends inspire Nitsche's ideology, which he condenses and arranges very carefully.