A Monday Afternoon in The City

AL177.1/2/3/4: Omnipresence

Lanterns symbolize the inner light that guides us through periods of darkness. They encourage us to find our inner strength by illuminating our life journey in the world. Delicate silk objects capture the light, creating shimmering effects and moving slightly when a person goes nearby as if engaging with that person, inviting them to stop, pay attention and enjoy the moment. 

Lanterns III

Lookout Points Series

The "headless women" series arises from my need to represent the precariousness of women's rights in the world.

This artwork has been exhibited at the VIAF16th, Venice International Art Fair, Palazzo Bembo, 2-23 December 2022.

Il mare sopra ("Headless women" series)

When I paint abstracts I work intuitively. My process starts with random strokes and as I do them,
I get inspired about how to proceed next. At first, the shapes seem random, but layer by layer they start to connect and make sense. This is the most challenging and also satisfying step because I get to experience and see how the chaos starts to get form and meaning.
In the end, I look at the painting and the title of the painting comes to my mind.
I use brushes, spatulas, and sponges to create textures and shapes, I love to combine all the tools as each one allows me to create a different shape.
I am inspired by the colors and shapes of things, it can be anything I see or dream of


Roundabout

This is a part of my current art project to visually narrate the story of the migration of osprey in the Britain, and the isolation of Ō Ō birds in Hawaiian islands. 

Scottish Osprey

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

Einzelausstellung "Studie der Verärgerung" vom 11.3.-8.4.2023 in der Chromart Galerie in Berlin (Wedding), Brüsseler Str. 37 Vernissage: am Samstag, den 11\. März ab 17:00 Uhr

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 is an active member of the Brandenburg Association of Artists. She presents and sells her fine artwork throughout Europe and globally with online galleries. Kristine prefers working with oil on linen, using models as her subjects. You can find her new artwork series in Germany: until 31 March 2023 at the International Art Biennial at the Hamburg-Bergedorf castle, until 23 February 2023 at the Rathaus Gallery Hoppegarten (near Berlin). Her next solo is in Berlin (Wedding) from 11 March (at 17:00 Opening) until 8 April 2023 at the ChromArt Gallery.

[www.narvida.com](http://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%5Fart/>

Look how I move 5 / Sieh, wie ich mich bewege 5

HighLand Rose

To contextualize decontextualized spaces and to reach a wider public, the artist brings the rubble from Berlin reflected in her photographs into the exhibition spaces to bring them back into the public consciousness.


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