Some artists create mayhem, others create poetry. Brian Grima creates precision calibre art the likes of which is rare to find. If ever there was an artist who sought to portray the nitty gritty detail of detail, he is the one.
His public appearances on exhibition space are few and far between. His works won't be found crowding exhibition spaces just for the sake of it. His exhibitions are serious affairs, planned well ahead with great forethought and much meditation. But he has his aficionados who check out his latest works with the attention of connoisseurs who look to the painstaking refinement he creates with intent.
Mr Grima's latest collection, Thesaurus Melitense, is a feast for such as these, and all those who love everything Maltese and meticulous. But don't be conned into believing this is yet another rendezvous of pretty Maltese scenery. The paintings Mr Grima produces are finesse in quality workmanship that combine the intricacies of wood with that of antique parchments, incisions, handwritten scrolls, sculptured figures, holiness, sobriety and pomp with just the right touch of historical relief, centuries-old sites and much-loved scenery.
In all of his pieces, some 28 in all, Mr Grima has managed to render different materials clearly, precisely and with the minutest exactitude onto canvas with sublime brushstrokes that are barely perceptible, if at all. And his repertoire of preferred mediums is vast - from ink drawings he goes on to oils and into the novelty of watercolour. A long history of study and observation backs these meanderings in medium. His experience at the Maltese School of Art was followed by an intensive stint at the Florentine Accademia di Belle Arti, where he was inspired by surrealism, mingled with longing memories of the colours of Malta, which he painfully missed. All this seems to have emblazoned images of Malta firmly in place, transforming them into clear-cut, neatly depicted scenarios that cannot be mistaken for anything but their very character and Mediterranean individuality. Therefore his images speak of ancient forts, exceptional architecture, crystal clear skies and iridescent limestone. In his own words, "the common theme throughout my artwork is Malta. I always choose to include a Maltese feature, and this can be anything - from a menhir to a woman in an ghonnella, to a wrought iron window, fortifications or a gardjola. Whatever I choose to place in perspective, it must be of noted Maltese origin."
This clear-cut detail comes through even in the most complicated of all mediums - watercolour. Mr Grima's watercolours are as sharp as they come, surprisingly so for somebody who is new to the medium. In fact, he seems to have mastered watercolours with amazing aplomb, as some of the more inspiring works prove.
And to prove his point, Mr Grima goes into scientific attention that embraces the study of history, heraldry, symbolism, crests and coat of arms. Take Grand Master Perellos - the painting which connects us to him portrays a succulent pear hanging from a delicately knotted blue satin ribbon. Viewing this elicits the urge to unknot the bow and relieve it of its weight to dig into the luscious fruit - certainly an innovative take on the Perellos coat of arms if ever there was one. But the painting would have done Perellos himself proud. It spells nobility, refinement and eloquence set demurely against an exquisite woodwork pattern derived from antique Maltese furniture with which Perellos himself could have been familiar.
The artist admits that in order to fulfil his artistic ideas, he is now resorting to utilise those technical drawing skills he obtained way back in his school days, when technical drawing was not quite something that excited his imagination. Certainly these paintings are a sight for sore eyes, namely for their innovativeness and in appreciation of the inventive imagination that has gone into recreating what can be visual passages back in time and the tradition of workmanship with a capital "W". Amid the curliques, incised designs and noble insignias, the underlying tonality of a splendid historic story goes unfolding.
http://www.briangrima.com
His public appearances on exhibition space are few and far between. His works won't be found crowding exhibition spaces just for the sake of it. His exhibitions are serious affairs, planned well ahead with great forethought and much meditation. But he has his aficionados who check out his latest works with the attention of connoisseurs who look to the painstaking refinement he creates with intent.
Mr Grima's latest collection, Thesaurus Melitense, is a feast for such as these, and all those who love everything Maltese and meticulous. But don't be conned into believing this is yet another rendezvous of pretty Maltese scenery. The paintings Mr Grima produces are finesse in quality workmanship that combine the intricacies of wood with that of antique parchments, incisions, handwritten scrolls, sculptured figures, holiness, sobriety and pomp with just the right touch of historical relief, centuries-old sites and much-loved scenery.
In all of his pieces, some 28 in all, Mr Grima has managed to render different materials clearly, precisely and with the minutest exactitude onto canvas with sublime brushstrokes that are barely perceptible, if at all. And his repertoire of preferred mediums is vast - from ink drawings he goes on to oils and into the novelty of watercolour. A long history of study and observation backs these meanderings in medium. His experience at the Maltese School of Art was followed by an intensive stint at the Florentine Accademia di Belle Arti, where he was inspired by surrealism, mingled with longing memories of the colours of Malta, which he painfully missed. All this seems to have emblazoned images of Malta firmly in place, transforming them into clear-cut, neatly depicted scenarios that cannot be mistaken for anything but their very character and Mediterranean individuality. Therefore his images speak of ancient forts, exceptional architecture, crystal clear skies and iridescent limestone. In his own words, "the common theme throughout my artwork is Malta. I always choose to include a Maltese feature, and this can be anything - from a menhir to a woman in an ghonnella, to a wrought iron window, fortifications or a gardjola. Whatever I choose to place in perspective, it must be of noted Maltese origin."
This clear-cut detail comes through even in the most complicated of all mediums - watercolour. Mr Grima's watercolours are as sharp as they come, surprisingly so for somebody who is new to the medium. In fact, he seems to have mastered watercolours with amazing aplomb, as some of the more inspiring works prove.
And to prove his point, Mr Grima goes into scientific attention that embraces the study of history, heraldry, symbolism, crests and coat of arms. Take Grand Master Perellos - the painting which connects us to him portrays a succulent pear hanging from a delicately knotted blue satin ribbon. Viewing this elicits the urge to unknot the bow and relieve it of its weight to dig into the luscious fruit - certainly an innovative take on the Perellos coat of arms if ever there was one. But the painting would have done Perellos himself proud. It spells nobility, refinement and eloquence set demurely against an exquisite woodwork pattern derived from antique Maltese furniture with which Perellos himself could have been familiar.
The artist admits that in order to fulfil his artistic ideas, he is now resorting to utilise those technical drawing skills he obtained way back in his school days, when technical drawing was not quite something that excited his imagination. Certainly these paintings are a sight for sore eyes, namely for their innovativeness and in appreciation of the inventive imagination that has gone into recreating what can be visual passages back in time and the tradition of workmanship with a capital "W". Amid the curliques, incised designs and noble insignias, the underlying tonality of a splendid historic story goes unfolding.
http://www.briangrima.com