r. L. Grennier
R. L. Grennier has dual degrees in Art and Philosophy. He attended Boston University, as well as studied at Harvard University under John Hallowell and Alfred Alcorn, and at the University of Wisconsin under Fabrizio Mondadori, Raymond L. Weiss, and Mark Kaplan. He has travelled extensively, to include working with the National Science Foundation in Antarctica, and studying in Arles France.
When working with the National Science Foundation in Antarctica, Grennier was assigned to assist in the evacuation of a research field team from a glacier on Queen Alexandria Range as a blizzard approached. The influence of this seminal event in his life created a template, a pattern he could use to identify and isolate a means of schematizing distinct moments, time and space, applying it to both his past and present, if not his future.
He was there to evacuate a 15 member research team, and as the C130 landed, and the cargo bay opened, he stood gaping at Antarctica, the landscape, its immense mountain ranges rising over the glacier. He walked down the cargo bay ramp, and fumes from the engines choked him, and he pulled his hood over his face, walking across the glacier until he could catch his breath. By that time he was more than 150 feet from the carrier, and, as his eyes began to clear, Beardmore Glacier, and the Queen Alexandria Range became visible. His senses returning, he became aware of a sight he had never seen, an immense space, an immense deprivation. He had never had his breath removed from his body, as the engine fumes had, and deplete the atmosphere of oxygen . He felt he was in a primordial world. He stood staring, and felt himself part of the land, the glacier and mountains, his breath, and nothing else. Nothing else existed but what he was experiencing.
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When commissioned, R. L. Grennier translates the ideas, emotions and desires of his commissioners-what thoughts motivate them, what themes affect them, what colors move them. What space is the work intended for, and how is it an extension of the commissioner, or her or his individual needs. Every commissioner is repeatedly consulted, from the construction of the canvas to the completion of the painting, and photographic updates are provided, a dialogue is continued.
It's not a question of money- it's your appreciation
The price of any painting is the investment and conviction its owner will put into its existence. Value is a question of how well the painting will be preserved. That is the price owners pay. The monetary value of the painting is immaterial. The painting is not a commodity.
Ron lives with his family. Since the birth of his son, his studio has been moved onto his property, where he can be with his family and work uninterrupted. He also continues to write. His novel, The Ineptitude of Providence, is available through Amazon Kindle Books, Barnesandnoble.com, or in print from Lulu Press. He is currently working on the second book of Ineptitude, The Inevitability of Uncertainty, and A True Life of William Cecil. His two collections of poetry, Disinclined to Contest Human Happiness, and Not Yet A Winter’s Setting Sun, are available on request.
Life and painting
“I build paintings from scratch – lumber, canvas, hardware, media - tangibles. - This is hardly an inconsequential step. One communicates with the work as soon as one builds, one's efforts to build –my own, or a commissioner’s – nailing the stretcher bars, pulling on the canvas, watching it tightly stretch, feeling the gesso, the paint, media. The rest is the consequence of what is felt, formed, solidified.
“When I walk up to a canvas, I have already started,.”