Showing posts with label paintings. Show all posts
Showing posts with label paintings. Show all posts

Friday, January 4, 2013

28 day dance party

 
'Spin' 30" square oil on linen, $1500

Our budding experiments with capturing movement have blossomed!  The '28 day dance party' launches tonight at Art & Light gallery, 4 Aberdeen Drive, Greenville SC from 6pm-9pm.  Come join us for some moving and shaking in the New Year!

Big thanks are in order to A&L gallerist Teresa Roche who envisioned this series and gently prodded us into tackling it for the last year or so.  Teresa is a boudless source of energy and enthusiam and I hope we have captured even a fraction of her energy in this show.

The exhibition opened for sales this morning at 9am.  This series is available exclusively through Art & Light through the month of January.  To see the series and for purchasing info, visit our website at www.grushovenko.com.

'Orange Crush', 16" x 12" oil on masonite, $450

Monday, January 18, 2010

into the woodwork (couple a day #6)



Today's studio time has been a bit of a failure thus far. I just spent an hour gridding out and drafting a brand new image on a 24" x 36" canvas before figuring out that it just wasn't gonna work. Drag.

However, I banked a few 'couples' at the end of last week, so today I give you "Into the Woodwork" (36" x 36" oil on linen, $1800). This was my first large scale piece of the year, and it felt pretty darn good!

I've been thinking about why I enjoy painting couples so much and have come up with a few ideas. Because my figures have little detail in their faces, their main method of communication is body language. That is what attracts me to a photograph...the tension between figures and between those figures and their surroundings.

When there are only two figures in a composition, that tension is totally pure and draws much more focus. In today's piece, for instance, the gentleman is leaning back just slightly into the woman. In a more complicated, multi-figure composition, that would most likely be lost. Here, it's the crux of the whole image, echoed over and over again in the trees and other forms behind, all leaning into the middle.

I know I said a few ideas, but that's the only one I want to talk about right now.

I'm crossing my fingers and heading back to the easel (easle?). Wish me luck!