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Lives and Works in USA

Paul N. Grech was born in Manhattan, New York, in 1974. Having been raised in a creative family, he was encouraged at an early age to engage in artistic endeavors. Pen and ink drawing, a favorite pastime, was a staple of his through adolescence to the point where it became his identity. Grech first picked up a paint brush in high school and has never looked back. He found that in painting, the use of color and scale had dramatically transformed the ability of his art to reach people. Grech entered Virginia Tech University in 1992 with the original intent of studying medicine and pursuing art as a hobby. With little money to spare, he couldn’t afford to paint on pre-stretched canvas and instead began to paint on a thin wood called luan that he found at a corner wood supply store. This enabled him to work on a fairly large scale at relatively little cost. Through the last 3 years of college he was very active in exhibiting artwork in local coffee shops and anywhere else that would house his pieces. Grech graduated with honors in 1996 and a degree in Liberal Arts and Sciences. He had followed art as a passion while focusing his studies on the natural sciences; particularly in microbiology, genetics, and chemistry. This scientific foundation has crept into his work over the past few years and provides continuous inspiration for his images. Although he works in a few styles, his favorite approach is sort of kinetic cubism that he attributes to “countless hours of assembling jigsaw puzzles as a child”. The goal of this technique is to try and capture not only an event in time, but the emotion leading up to it and the energy released as a result. Thus, Grech seeks to paint an entire violin solo rather than a mere snapshot of it. The result is a vivid and chaotic image that seems to change with every viewing.

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Art has been my passion from as far back as I can remember, and as much as I cherish all art forms, it is painting that has continued to define my path. I am obsessed with the ongoing challenge of transforming the nothingness of a blank canvas into something that tells a story. Even on a small square surface, there are an infinite variety of ways to arrange shape and color, but it is in finding that ‘right’ arrangement that I am perpetually amused. The artists that inspire me most are musicians. I have rarely been emotionally moved by visual art, but I am routinely driven to tears, laughter, or contemplation by music. Much of my recent work has been devoted to trying to capture the musician; one of nature’s finest creations. There is such power and resource in knowing how to manipulate sound. I have seen how music can ignite an entire room of strangers into dance and conversation, luring them into alter egos. I can think of no greater pleasure than to give back to the world a mere piece of the beauty it has provided. While working on this series, I was more interested in using art to celebrate life rather than I trying to critique it. I attempted to capture the musician as accumulation of energy, and as an intertwined extension of a living, breathing environment. People have asked me “what is the meaning of this painting?” I’ve had to reply by asking “what is the meaning of a violin solo?” I can think of nothing less deserving of explanation than a pure emotion. It just simply is. I can also think of nothing more human than the creation of art, in whatever medium and from whatever source of inspiration. Art is life, and painting is the process of life, manifested.