THE PAINTING OF INNA GRINEVICH
The painting of Inna Grinevich is decorative. Irrespective of the fact of which plot she has selected and of what material has taken advantage: canvas or board - there will always be clean, brightly-coloured, transparent, carefully balanced compositions. And there is a tendency to save order, to transfer sounding of unbounded colour, perceptible even in fluid, vertical combinations, reminiscent of early Malevich.
Sometimes the "force of things" comes to the foreground. The dress of "Girl in an Armchair" merges with the wallpaper. The clothing in the still-life paintings are as though cut out from a piece of white tin-plate. A water-melon and wallpaper are a phenomenon of one order, one "world of things", which is spiritualised not less than ours. Not accidentally, the cut water-melon smiles a black-teethed smile, cactuses are obediently drawn up together in composition in "My garden". "Fires" embody by themselves the order, installed by a strict hand. Order, set, orderliness - arrangement of the universe - are the main content in Inna Grinevich's works, especially noticeable in the decorative boards.
Simultaneously, it is a main sign of folk art: positioned subjects in the world, finding a place to every one of them. But the person is by no means at the centre of this world, he is only a part of it, equal and comparable to other things not created by him. In this world, let's say, blending of colours is a good-for-nothing business, as well as breaking of pre-established harmony. But it is impossible to compare the painting (even decorative) of Inna Grinevich with folk art. Yes, she has a tendency toward it, uses its motifs, sets, atmosphere; but this is modern painting, aesthetically verified, refined, if you want, clear of all shades of "barbarity" and primitiveness (concealed though in "Dymka", and "Khokhloma"), and belongs to the European tradition. "Autumn" is wonderful, and senses are multiplied with examining still life - from the Russian avant-garde to Matisse. The world is poured into this painting. The artist sensitively registers its parameters and shows them with the help of a paintbrush. In translation from Greek aesthete also means "having a subtle perception".