NADIA KISSELEVA ARTIST
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Urban Portraits explores the vulnerability of individuals living in a constantly shifting urban environment, where life is shaped by solitude, restriction, and forces beyond personal control.
The project reflects on the quiet isolation experienced within the collective, portraying city inhabitants from different social backgrounds, ethnicities, and ages. These portraits are not just depictions, they are markers of presence, resilience, and the silent complexities of urban life.
Bags and Boxes explores the relationship between developing countries and multinational corporations, their strategies, economic agendas, and the weight of their influence.
In this work, symbols of Western consumer culture, shopping bags and packaging boxes, form the visual ground for portraits drawn from obituary columns in African newspapers. The contrast is deliberate: the language of consumption overlays the fragile presence of lives often overlooked, creating a tension between visibility and erasure, value and disposability.
POSTCARDS FROM ... (2013 - 2016)
Postcard From... reflects on the lives of ordinary Russian people and families who lived through the uncertainty and upheaval surrounding Perestroika, before, during, and after.
This work traces personal histories rather than official narratives. It offers a mosaic of individual lives, shaped by resilience and quiet endurance in the face of systemic change. There is critical observation here, but also empathy. Postcard From... becomes a visual
letter of recognition, filled with both memory and humanity.
In Document, I trace a visual history of Russia through personal stories from the time of Stalinist repression.
The portraits in this series are based on mug shots of ordinary people, captured in the final days or hours of their lives. These faces, silent and still, speak of fear, dignity, and human fragility. The wide range of ages and nationalities reflects the scale of persecution and the indiscriminate cruelty of the era.
This work is a study of human tragedy, an attempt to understand the place of the individual within the machinery of history. It is also a quiet act of remembrance.
LINEA SUBLIME (ongoing)
Linea Sublime brings the tradition of landscape painting to the edge of abstraction. In this work, I reduce complex natural scenery into rhythmic bands of colour, transforming familiar views into a visual language of distilled emotion.
By stripping away detail and focusing on form, the landscape becomes something else: a composition of broad stripes, tonal shifts, and the interplay of light and atmosphere. What remains is not a place, but a sensation, an elevation of the ordinary toward the sublime.
"WOMAN LOOKING AT ....." (2005-2024) Ongoing ...
‘Woman Looking at… revisits the tradition of the female nude by challenging the notion of the ‘male gaze’ that has shaped its portrayal for centuries. Painted from the perspective of a female artist, this work resists the passive objectification of the model and reclaims the subject’s presence.
Influenced by the writings of Siri Hustvedt, the project brings gender into direct conversation with painting itself, questioning how we see, who is seen, and who is looking. Here, the act of looking becomes a critical space where representation and identity intersect.
Hot.Dot.Africa reflects on the fading cultures of nomadic communities under the pressure of modernisation and global economic forces. It is both a commentary and a quiet contemplation, shaped by my years of living in Africa and witnessing the gradual transformation of local traditions.
This body of work engages with the tension between continuity and change, and the fragile space where identity, movement, and survival intersect.
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