Kira Grennan


In painting still lives, I am painting relationships. Fraught, volatile, awkward, or joyful, my objects become characters in their narrative.

Kiwis is one in a series of still lives I explored at the beginning of grad school. I was looking at a lot of Japanese woodblock prints and thinking about the potential power of negative space or absence in a composition. This was another of the first few paintings on paper I tried – the relatively large scale and smoothness of the paper prompted me to use the oil paint more like a watercolor, diluting it with medium and playing with it fast and loose.