DAN'S PAPERS, February 19, 2010 Page 32 www.danshamptons.com
Arts & Entertainment Honoring the Artist: Sonia Grineva
Art Commentary by Marion Wolberg Weiss
The Art Scene: Albuquerque It’s almost impossible to write toward the sky. discriminately about the art of an Art from the past predomientire city. But Albuquerque’s nates the Petroglyph National southwest ambience and tradiMonument, an ecosystem that tions make it appealing, nonethesupports fissure volcanoes, less, especially when comparing it plants, animals and, of course, to the aesthetics of the East End. the rocks containing ancient Everyone writes about Santa drawings. Like the Lascaux Fe’s art scene and with good reacaves, the formations give creson, yet its neighbor has often dence to the people who occubeen left out of the mix. Is it pied the area thousands of years because Albuquerque’s art marago: in this case, native ket is more low key and less comAmericans, Spanish mercial? Is it because the place is and Mexicans. so spread out, with its malls and Climbing up to the top of the gambling casinos, that it doesn’t trail is no easy matter, yet the Work by Lorna Smith fit the mold of an art community? rock drawings are extraordinary Is it because it’s not as wealthy as Santa Fe? with their childlike visuals delineating figures, plants Whatever the reason, Albuquerque is rich with art and crosses (20,000 images in all). It’s remarkable to that pays homage to the historical past as well as to think that such drawings have inspired some of our the avant-garde present. The Albuquerque Museum greatest artists through the decades. celebrates the old and the new with its exhibits feaContemporary artist Lorna Smith manages to comturing four centuries of the city’s history and also the bine the past and the present in her diverse media, state’s contemporary art. Memorable in the latter including paintings, prints and woven metal sculpshow, which includes traditional woodworking and tures. Yet her bond with nature, especially found in digital video, is Emily Brock’s “Museum Colonnade.” archetypical images, reminds this critic of the petroThe Museum’s sculpture garden presents various glyphs. Even so, Smith has a penchant for other three-dimensional works which also remind spectasources as well, deriving from geometric abstraction tors of the area’s rich history, like Luis Jimenez’ found in Celtic art. “Howl,” a bronz piece celebrating the artist’s signaHaving visited several Celtic sites in southwest ture subjects (cowgirls, rodeo riders and the vanishEngland, this critic can appreciate Smith’s attraction ing west). to Celtic patterns in art. Yet these patterns relate Another sculpture shows a female Native American directly to the ancient sculptures in a different way with outstretched arms, seemingly blessing the land by suggesting the unseen geometric lines and connecand viewers alike. Sculptures of other materials tions between the pieces located in a given place. (steel) are also present in the garden, including a Smith’s patterns in her own work are intricate and minimalist box-like shape supported by a tall tripod. (continued on next page) It, too, like the woman’s outstretched arms, reaches
A RTIST
Dennis Pelliccia RETURNS MARC
19 th H
Justt in n timee forr thee 48th h Annuall Saintt Patrick’ss Dayy Parade!
CALL http://sites.google.com/site/denpell2/
to reserve space! 1318614
Terry Ahola Sculptures
TODAY
Annemarie Davin - 631-877-8847
1318637
While this week’s cover image by Sonia Grineva was inspired by the Berkshires, the setting could be located in the Hamptons – or, for that matter, in a number of places. Grineva brings a universal feel to her work, not surprising considering that she was born and educated in Russia and has lived in both New York and Italy. Her style, while impressionistic, is moves toward abstraction: a big change from her classical and realistic art training in Russia, where Grineva earned a Master’s degree in Fine Arts. Q: You have really adapted well to living in New York – taking art and music classes, painting in a Greenwich Village studio for several years, holding receptions for your work. You seem to be quite energetic and hard-working. A: I love New York, its chaos and the four seasons. I love everything I do here. I hold receptions in my studio every other month so that customers can come see the paintings on the wall. I have also been teaching art to private students on and off for 10 years. Q: I understand that you teach art elsewhere, too? A: Yes, on cruise ships. I’ve been to China, Japan and South Korea. As I only teach one hour per day, I can then explore. Q: You also went to the Amazon. Exotic. A: It was absolutely fascinating. I thought there would be bugs and hot weather, but there weren’t. Brazilians are very warm, and we were never in danger. It was amazing to walk through the jungle and see the trees, vegetation and pink dolphins. Q: Are you drawing all the time on your trips? A: I do sketches and watercolors. When I get back home, I make impressions. Q: On a trip to Italy a few years back, someone who saw your work arranged an exhibit for you. So fortunate. Have you had any other shows in Italy? A: I had an exhibit there last Spring at a new museum, Maz Ercolano. I met art critics, lots of people. I was asked to publish a book with stories about my paintings. Q: Although you like Italy, you enjoy the Hamptons, too. A: It’s so different from the chaos of New York. I like to go to the ocean, see the sunsets, smell the fresh air, enjoy the beautiful scenery. Q: That’s inspiring. What else inspires you? A: Music and literature. I take music appreciation at Julliard and participate in a book club. As far as art goes, I find very moving the drawings by Bronzino, which are at the Metropolitan Museum. Q: Any other artists that you really liked? A: Kandinsky’s work is very spiritual. One of my favorite artists is Dufy: I like his different themes, like theatre and horse races. His work is decorative, happy, colorful. Q: I know you do cityscapes and landscapes. What do you look for when you study an urban scene? A: I look for perspective, dynamic composition, movement, and color. I like images that are alive. That’s why I put in cars, people, yellow taxis. Q: Have you ever done “dark” or sad pieces? A: My early work had a darker palette, when I started in Russia. That’s how we were taught. Of course, when I do night scenes now, they are darker. Q: What are your plans for the future? A: To keep doing what I’m doing. –Marion Wolberg Weiss Sonia Grineva’s work is currently at Works Gallery (1250 Madison Avenue; 212-996-0300). Her email is: soniagrineva@gmail.com