Soft layers of colour with abstract bodies embedded

DREAMY LOVE II

A musical instrument sculpture that facilitates a sonic ritual for up to seven people.


Kyrie, eleison

This work is part of the installation “my playbench in the workground.” This work comes from the “axe before entering” TV trope. During the exhibition, the kinetic concrete Maneki-Neko constantly knocks on the door gently while an axe is placed leaning against the door. Through a cartoonish depiction of the usually super violent trespass scene, this work contemplates the differences between the use of tools in our daily life and that in mass media, the gap between the actual and the representational, and the complex relationship between desire and violence. 

“then I’ll huff, and I’ll puff.” 

Floorplans

in my pocket

A series of interactive self-portraits, inspired by old Dutch and Danish paintings and by the video call’s low-quality image. They capture the emotional landscape of solitary living between digital and physical space and aim to engage the viewers into a meaningful interaction.


Self-Portrait 01. From 'Almost There' series

concrete sculpture: The Phone 2000
author: REGULAR CONCRETE 
 design: Peter Baran 
year: 2022 

The Phone 2000

Camera

it’s morning and it smells like coffee

You can find her new artwork series in Germany: This week in Potsdam (Holländisches Viertel), Hebbelstr. 43 at the Free Play exhibition from 30 September (Vernissage Fr 18-22) -2 October 2022, also from 20 October–5 November  at the Art A10 in Wildau (near Berlin), from 11-13 November at the Frauenmuseum Bonn and from 7 November - 28 December 2022 at the VIII international art biennial at the Hamburg-Bergedorf castle.  

www.narvida.com - Kristine Narvida is an academic visual artist born in 1977. She graduated in 2006 as a Magister at the Latvian Art Academy in Riga. She lives and works in Germany in Berlin and Potsdam and is mother of four daughters.  She presents  her fine artwork throughout Europe.  

Kristine prefers working with oil on linen, using models as her subjects. The study of annoyance - a study of aggravation is silence that becomes visible. The tension between language and the world where the existing demands its possibility, and not the possible its existence. This is a passionate look at the present, where the surface of things and the superficiality of people are so truly full of meaning and pain. The search for context, the wish to escape, and the inability to do so. The introduction of bright block colour in the work of this series is a conceptual idea to find a path to identify and to get rid of the unnecessary.
https://www.instagram.com/narvida_art/

Add

Upgrade