Contacts
Olga Drob-Pervushina
Телефон: +7 926 218 5797
E-mail: Olga@4rooms.ru
www.OlgaDrobPervushina.ru
www.OlgaDrobPervushina.com
Send a message:
Телефон: +7 926 218 5797
E-mail: Olga@4rooms.ru
www.OlgaDrobPervushina.ru
www.OlgaDrobPervushina.com
Send a message:
"Living line" Series
In her "Living Line" series, Olga Drob-Pervushina addresses the image of the flower as a universal natural form, existing on the border between the recognizable and the abstract.
The artist works on unprimed canvas, consciously preserving its natural color, texture, and ability to absorb paint. The canvas ceases to be a neutral support and becomes a fully-fledged part of the work, directly interacting with the painter's gesture.
The paint penetrates the fabric, spreads, and leaves stains, streaks, and marks that the artist can only partially control. This freedom of the material is countered by the line—thin, fluid, sometimes almost graphic, and sometimes dissolving into the painted surface. It is the line that assembles the image, allowing the flower to emerge from the raw material of the canvas.
The plants here are not objects of botanical observation.
Their forms expand, deform, disintegrate into separate fragments, and recombine, gradually approaching abstraction. In some works, the flower opens up to the viewer almost frontally; in others, it stretches, bends, or seems to follow an invisible movement of air. The impression arises of a living organism that cannot be definitively captured.
The white outline either emphasizes the shape of the plant or goes beyond it, turning into an independent plastic element. The dark drawing resembles at the same time botanical graphics, a quick sketch and a direct trace of hand movement. The unpainted spaces retain the natural surface of the canvas and become a space of air and silence around the image.
A restrained, natural palette—shades of linen, earth, graphite, white, and muted gray-blue—accentuates the materiality of the works. The artist deliberately rejects the traditional decorativeness of floral motifs, exploring primarily their inner plasticity, rhythm, and movement.
In "Living Line," the flower becomes a way to speak about the very nature of form—changeable, fragile, and yet resilient. Drawing strives to hold it in place, while the paint and texture of the canvas constantly violate established boundaries. This interplay of control and chance generates the series' unique tension. Nature is not copied here—it emerges anew within the material.
The line becomes the boundary between image and matter, and the flower is the moment when this boundary becomes life.