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Gold. The Muse (2026) Original Oil Painting by Tetiana Gryshchenko

60 x 60 x 2cm (unframed) / 60 x 60cm (actual image size)

4 Artist Reviews

£1,625.45

"Gold. The Muse" belongs to my Gold series—a body of paintings where each composition is built upon an intricate ornament of golden spirals. This series explores geometry not merely as a formal artistic device, but as a visual language through which humanity has continually sought to decipher the structure of the universe and our own place within it.

The golden spiral is not an invention; it is a fundamental structure discovered time and again—in the proportions of a seashell, the unfolding of a leaf, and the architecture of the human body. While the Fibonacci sequence provided its numerical record, the structure itself has always existed.

The central figure is a woman. As in most of my figurative works, she is not a mere character but a vessel. Here she manifests as the Muse—not the one who is being depicted, but the force through whom creation itself becomes possible. Weightless, almost immaterial, she is simultaneously embedded within the geometric structure as an inseparable part of it—an impulse existing inside order, not beyond it. Her hair is rendered as a golden vinyl record, embodying the human being as a microcosm—a precise description rather than a metaphor.

Beside her stands a column with an Ionic volute—a spiral captured in stone. The ancient Greeks placed it on their facades not for mere ornamentation, but because they built according to laws they considered universal. So did Palladio in architecture. So did Bach, but in sound. There was once an entire tradition where geometry and harmony required no justification; they were the absolute ground upon which everything else stood.

This painting turns toward that timeless tradition. In a contemporary moment where the connection between structure, meaning, and form is easily lost, this work proposes geometry as a way of thinking—and as a way of remaining oriented.

Materials used:

Oil

Details:

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"Gold. The Muse" belongs to my Gold series—a body of paintings where each composition is built upon an intricate ornament of golden spirals. This series explores geometry not merely as a formal artistic device, but as a visual language through which humanity has continually sought to decipher the structure of the universe and our own place within it.

The golden spiral is not an invention; it is a fundamental structure discovered time and again—in the proportions of a seashell, the unfolding of a leaf, and the architecture of the human body. While the Fibonacci sequence provided its numerical record, the structure itself has always existed.

The central figure is a woman. As in most of my figurative works, she is not a mere character but a vessel. Here she manifests as the Muse—not the one who is being depicted, but the force through whom creation itself becomes possible. Weightless, almost immaterial, she is simultaneously embedded within the geometric structure as an inseparable part of it—an impulse existing inside order, not beyond it. Her hair is rendered as a golden vinyl record, embodying the human being as a microcosm—a precise description rather than a metaphor.

Beside her stands a column with an Ionic volute—a spiral captured in stone. The ancient Greeks placed it on their facades not for mere ornamentation, but because they built according to laws they considered universal. So did Palladio in architecture. So did Bach, but in sound. There was once an entire tradition where geometry and harmony required no justification; they were the absolute ground upon which everything else stood.

This painting turns toward that timeless tradition. In a contemporary moment where the connection between structure, meaning, and form is easily lost, this work proposes geometry as a way of thinking—and as a way of remaining oriented.

Materials used:

Oil

Details:

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Tetiana Gryshchenko

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Location Croatia

About
Tetiana Gryshchenko is a Ukrainian contemporary conceptual artist working with geometric abstraction, sacred geometry, and symbolic minimalism. Her practice approaches geometry as a visual language of existing order — a... Read more

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