KRISTINE NARVIDA | Look How I Move | Study of Annoyance

KRISTINE NARVIDA
2 Projects: | Look How I Move | Study of Annoyance

“The relationship between certain parts of the work and its entireness excites me.
I shape my space of solitude, and the work that evolves lives its own life, defiantly independent of me.
I like to wonder how colors happen and to maintain the dimensions in constant tension. That is instantaneous awareness of fulfillment that can just as instantly disappear.
My search involves clear form-expressed messages in which what is present asks for the truth. The gaze is not a simple movement of eyes; it requires knowledge, experience, and an explanation. I go through this process, overcome myself, and this leads to the choice I have made and gives me joy as
a creator.” – Kristine Narvida

Look How I Move

I must understand that this is precisely the real and only life, not a place for nostalgia after another one. Through the understanding of time, the acceleration of which we can physically feel, through the vis-à-vis of a living human model, a pause is created, and a place is made for the emergence of the present.
Every line and every brushstroke are precise, just like every meeting with this person, a dream, a thought. Technical work with profound thought behind it makes it possible to see how the ideal becomes material.
I observe and participate in the movement; this process gives honor, meaning, joy, and suffering.

“In my opinion, the most important thing for anyone is being authentic and truthful to yourself. A lot of investment is necessary to understand who you are. Work and discipline are a solid foundation for development.”
– Kristine Narvida

Study of Annoyance

“The study of annoyance – a study of aggravation is silence that becomes visible. The tension between language and the world where the current demands its possibility and not the possible existence. This is a passionate look at the present, where the surface of things and the superficiality of people are so genuinely full of meaning and pain.
The search for context, the wish to escape, and the inability to do so.
The introduction of bright block color in the work of this series is a conceptual idea to find a path to identify and eliminate the unnecessary.”

ABOUT KRISTINE NARVIDA

Kristine Narvida is a Latvian 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 a mother of four daughters. She is an active Brandenburg Association of Artists member and the winner of prestigious art awards. Narvida 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 at the Labo 6/2 Gallery in Berlin, at the Futur eins Gallery in Potsdam at the Sicily Summer Art Expo at the Museo della Cattedrale in Ragusa from 22 – 29 July, and at the XIV Florence Biennale from 14 – 22 October 2023.

Getting to Know | An Interview With Kristine Narvida

Art Market Magazine: Please share the background of your artistic journey. Did you grow up in a creative environment? What led you into the contemporary art field as a professional artist?

Kristine Narvida: I grew up in parallel spaces. This construct entails the foreign and far-removed sound of the Soviet social ideology, a social circle filled with the Latvian national identity, and the varying post-traumatic fallout of my family. The fact that the people around me were occupied with themselves allowed me to be undisturbed and to discover the world around me at my own pace. A creative, curious view of things has always been self-evident, so the physical realization of my inspirations through materials came naturally. These circumstances informed my decision to study academically and to see myself within the landscape of current art.

Art Market Magazine: Where your inspiration comes from? Would you say that your art is influenced by other artists or a specific art field?

Kristine Narvida: Inspiration is all around me; the act of being by itself is stimulating. Sometimes the unsaid speaks even louder than the obvious.
I like to study specific periods in art and design. For example, the character of Renaissance art, which is based on vision, dictates not only the composition of a painting but also the specifics of its perception. The fascination with mirrors that painters of that time had, the ability to see objects that seem real but don’t actually exist, create a theatrical distance from things. Understanding someone else’s thoughts can be very inspiring. Something as mundane as sunlight reflected on my child’s cheek can create an impulse to analyze the relationship between light and shadow.

Art Market Magazine: Let’s talk about your unique technique. Please tell us about the entire work process, from the step of the idea until the final outcome.

Kristine Narvida: Ideas live within me. They actualize; some of them retreat, mature, biding their time. Finding answers to questions can last a while; on other occasions, they manifest clearly and undeniably. I work with oil paints and natural pigments. Feeling a physical connection with the chosen material is essential to me, the linen canvas, bone glue, the glow of color, softness, and malleability of the oil.
Coming from an academic background, I still enjoy experimenting with different techniques. Sometimes I get the feeling that a specific painting is living its own life, independent from me.
That calls for a respectful approach. If nothing within a painting is bothering me, I accept it as a result. This is my language, how I decided what to show and what to keep to myself.

Art Market Magazine: From your personal journey in the art field, what will be your advice to the young artist looking for a way of development?

Kristine Narvida: In my opinion, the most important thing for anyone is being authentic and truthful to yourself. A lot of investment is necessary to understand who you are. Work and discipline are a solid foundation for development. I like to add elements of a game to this process to make up my own rules. The world doesn’t always accept them,
but it’s my way of doing it. Trusting yourself is the most important thing.

Art Market Magazine: What’s the future hold? Any special exhibitions in the upcoming months?

Kristine Narvida: The future is the present, and the past is the future. I’d like to give myself to the sweet calculations of what’s to come, but my choices put me within the bounds of a great today with opportunities to continue the game.

See the full article in Art Market Magazine Issue #82