Nadia trained at Kunstakademie Duesseldorf in her native Germany, she has explored a wide variety of media in her artistic practice in the past. Currently mainly painting with acrylics in a representational style, her work explores architecture and the remains of human activity in landscape, with a specific focus on industrial history. 
Highlighting the way humanity exploits natural as well as human resources is something that informs her choice of subject matter when painting sites like quarries, mines and industrial buildings of her new home in south of Wales and further afield. 

Nadia has a longstanding fascination with the Welsh landscape, since first visiting as a teenager. she is equally inspired by the industrial past of the south Wales valleys, quarries within Bannau Brycheiniog National Park or the slate mines of north Wales. Her work also draws inspiration from visits to UK coastlines in Pembrokeshire and beyond.
Looking beyond natural beauty, she seeks out sites that speak to the developments that have shaped today's landscape and the people within it - despite humans being conspicuously absent from the actual paintings. But through this absence they speak even more to the actual damage that the now mainly dead industries have done in the process of reshaping the land. In turn the emptiness of the paintings highlights the effect the post-industrial closure of the coal, slate or limestone mines has had on communities who formerly proudly earned their living from them. 

The locations she chooses to paint are today mainly deserted and they and their stories are often bypassed by tourists in the national parks, who often only come for the stunning natural beauty spots. She has made highlighting them at the same time as appreciating their unexpected beauty the underlying current in her paintings. 

Spending time on location is an important part of Nadia's process. When taking reference photos or drawing, she concentrates on unusual perspective and textures, often deliberately choosing a juxtaposition of natural landscape with the industrial relics. Starting out with an underlying drawing in the studio, she manipulates multiple thin layers of paint with a palette knife, achieving a painterly finish within the details of the painting surface which is still reminiscent of the source material, but often quite independent in terms of actual object colour.