360 West May 2012 : Page 102

2 GREAT WorkSpaces CITIES Shelter from the Storm Grant says, explaining the project presents the kids with both aesthetic and technical challenges. “These will be permanent but movable and run the gamut from remarkably whimsical to high concept and rigorous geometric precision.” As this project is in full swing, Grant receives an urgent commission from the Fort Worth Symphony Orchestra. “I have 17 days to do a study of two priceless Stradivarius violins,” he says. He also has received a commission for the renovated River Crest Country Club, scheduled to reopen this month. All the while, he’s painting what he wants to paint — for himself — with canvases in various states of being. “If I don’t get the renovations to the point where I have a fully functioning studio soon … .” Grant’s frustration trails off as he pads toward his latest painting space — a corner of a small bedroom. Two canvases of works in progress rest on two back-to-back easels, carefully arranged in a 10-foot by 10-foot spot that’s orderly and obviously functional. Other paintings lean against the easels’ legs. His brushes stand in a greenish, Art Deco vase on a small worktable beside a prepared palette of oil paints. Light is everywhere — natural light, plus some fluorescent, some incandescent — because “no matter where the painting will be displayed, its color will still balance to whatever light illuminates it.” Rep. Kay Granger lights up when she talks about her decade-long -2 1 20 TE X N O S A E S B AS A E LL TT E AT E H O R. RG 3 1 20 ONE GREAT COMPANY Untitled (Tulips) (oil on canvas, 16 inches by 20 inches)

Texas Ballet Theater

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