Over the years, Edvarda has crafted a distinct visual universe where figurative storytelling unfolds in a space equally informed by modern design, fashion, and advertising as by the works of Bellini, de La Tour, and Titian. Her ability to reconstruct classical art historical motifs within fresh, contemporary contexts reflects her grounding in the postmodernism of the 1980s, drawing inspiration from figures like Richard Prince and Matthew Barney.

For the past decade, Edvarda has spent extended periods in Los Angeles, a city that has profoundly influenced her work. The stark contrast between the Scandinavian minimalism of her upbringing and the sprawling, chaotic metropolis—alive with millions of overlapping realities—has fueled her creative vision. The collision of surface glamour and deeper substance in L.A.'s cultural and architectural history mirrors Edvarda’s own artistic approach.

In this vibrant setting of billboards and palm-lined streets, she discovered echoes of creative icons such as Arnold Schoenberg, Bertolt Brecht, Thomas Mann, Fritz Lang, Billy Wilder, Rudolf Schindler, and Richard Neutra—many of them refugees from pre-war European fascism. Los Angeles, with its blend of old Hollywood glitz and modern intellectualism, serves as both a muse and a metaphor for her work, where light and shadow are as much a part of the story as the subjects themselves.

At the heart of Edvarda’s practice are women—captured through a lens that interrogates what it means to see and be seen from a female perspective. Whether drawing from 16th-century Venetian portraiture or contemporary fashion imagery, her subjects unapologetically inhabit worlds shaped by modernism. In these works, the interplay of light, form, and narrative creates a dialogue between glamour’s expansive luminosity and the quiet sophistication of her Nordic heritage.