182 Rodeo Drive

182 Rodeo Drive leaves the rectangle behind. Grande paints on repurposed structured wooden boards cut into an irregular silhouette, so the work reads as an object on the wall rather than a window in it. Bands of cobalt and yellow trace the outer contour like enamel on a sign, and the shape itself carries as much meaning as the image inside it.

Within that shape, a classical marble bust with pink-tinted hair tips her head back beside a spray of red roses and an expanse of clear blue sky. The bust belongs to art history, the roses to romantic still life, the color scheme to advertising, and the title to Beverly Hills ideals of luxury. Grande lets all four operate at once.

This is the method the artist describes as leaning into art history rather than resisting it. Much has already been explored, so he remixes existing narratives and styles, anchored not by adherence to a single manner but by the presence of his own hand. The painting is knowing without being cynical, and the pleasure it takes in glamour is real.

The result is a work that behaves like signage and rewards like painting. Seen across a room it registers instantly as a graphic shape; up close it opens into carefully modeled marble, petal, and sky.