“As a diplomat, fostering understanding by bringing people together in common purpose lies at the heart of my work. “The Volcano Project” not only forged closer ties between the people of the Azores and the United States, it enriched all who experienced your works of art.”— Gavin Sundwall, Foreign Services Office at the U.S. State Department —
“Christine's writing flows seamlessly from poignant to playful, articulating an innate compassion, curiosity, and humanism.”— Jeanne Koles, Editor —
Arveil wrote on 18th century European crafts and art forms, particularly the French tradition of bow making.
The text, metaphor for the art creation process, is both a fiction and a manifesto.
Literature and art magazine published the first chapter of Arveil’s autobiographical Itinéraire Peinture / Path to Painting.
Constructed as paintings where words replace brush strokes, Arveil’s written images explore sensations, meanings, and moments. The texts are usually brief, each word bearing dense meaning. Surrealism and a hyper-sensitive realism are interwoven seamlessly. She renders feelings and descriptions of the material world with an exacting precision that conveys to the reader a direct perception of the human experience.
She writes across genres, spanning fiction, non-fiction and poetry, in both French and English.
Arveil’s fiction work includes an expansive collection of short stories, as well as a novel, The Fault/La Faille, as part of The Volcano Project. Poetry and prose interweave with visual art. In 2011-12, she collaborated with photographer Sal Lopes on the artist book Waterlines, bridging and blurring again the boundaries between visual expressions and the written word. Together, they explored transparency, movement, time and fluidity, presenting ever-changing perspectives on water, descriptive and metaphorical. Over time, Arveil wrote collections of short poems exploring everyday life and small joys.
Arveil’s non-fiction writing and scholarly research, focused on 18th century crafts, has been featured in a variety of publications, including Strad and Strings magazines. She has collaborated extensively with Benoît Rolland on the world patrimony of French bow making, recording his knowledge and expertise as well as historic research and archival work. Other essays touch on contemporary subjects, such as the emergence of North African post-colonial art in the 20th century. Only a few texts have been published so far under her own signature, as she shared her visual art and served music.
