In her "Living Line" series, Olga Drob-Pervushina addresses the image of the flower as a universal natural form, existing on the border between the recognizable and the abstract.

在她的“生之线”系列绘画作品中，奥尔加·德罗布-佩尔武什娜将花朵的形象视为一种普遍的自然形式，存在于可辨识与抽象的边界之间。

The artist works on unprimed canvas, consciously preserving its natural color, texture, and ability to absorb paint. The canvas ceases to be a neutral support and becomes a fully-fledged part of the work, directly interacting with the painter's gesture.

这位艺术家在未经底涂的画布上作画，有意保留画布的天然色彩、纹理和吸色能力。画布不再仅仅是中性的载体，而是成为作品不可分割的一部分，与画家的笔触直接互动。

The paint penetrates the fabric, spreads, and leaves stains, streaks, and marks that the artist can only partially control. This freedom of the material is countered by the line—thin, fluid, sometimes almost graphic, and sometimes dissolving into the painted surface. It is the line that assembles the image, allowing the flower to emerge from the raw material of the canvas.

颜料渗入织物，扩散开来，留下污渍、条纹和痕迹，艺术家只能部分控制这些痕迹。这种材料的自由性与线条形成对比——线条纤细流畅，有时近乎图形化，有时又融入画布表面。正是线条将图像组合起来，使花朵从画布的原始材料中浮现出来。

The plants here are not objects of botanical observation.

这里的植物不是植物学观察的对象。

Their forms expand, deform, disintegrate into separate fragments, and recombine, gradually approaching abstraction. In some works, the flower opens up to the viewer almost frontally; in others, it stretches, bends, or seems to follow an invisible movement of air. The impression arises of a living organism that cannot be definitively captured.

它们的形态不断扩张、变形、分解成碎片，然后重新组合，逐渐趋向抽象。在一些作品中，花朵几乎正面向观者绽放；在另一些作品中，它伸展、弯曲，或仿佛跟随无形的气流运动。最终呈现出一种无法被完全捕捉的生命体的印象。

The white outline either emphasizes the shape of the plant or goes beyond it, turning into an independent plastic element. The dark drawing resembles at the same time botanical graphics, a quick sketch and a direct trace of hand movement. The unpainted spaces retain the natural surface of the canvas and become a space of air and silence around the image.

白色轮廓线既强调了植物的形状，又超越了植物本身，成为一个独立的造型元素。深色线条既像植物图谱，又像速写，还直接展现了手的笔触。未着色的区域保留了画布的自然质感，成为图像周围一片宁静的空气空间。

The white outline either emphasizes the shape of the plant or goes beyond it, turning into an independent plastic element. The dark drawing resembles at the same time botanical graphics, a quick sketch and a direct trace of hand movement. The unpainted spaces retain the natural surface of the canvas and become a space of air and silence around the image.

白色轮廓线既强调了植物的形状，又超越了植物本身，成为一个独立的造型元素。深色线条既像植物图谱，又像速写，还直接展现了手的笔触。未着色的区域保留了画布的自然质感，成为图像周围一片宁静的空气空间。

The white outline either emphasizes the shape of the plant or goes beyond it, turning into an independent plastic element. The dark drawing resembles at the same time botanical graphics, a quick sketch and a direct trace of hand movement. The unpainted spaces retain the natural surface of the canvas and become a space of air and silence around the image.

白色轮廓线既强调了植物的形状，又超越了植物本身，成为一个独立的造型元素。深色线条既像植物图谱，又像速写，还直接展现了手的笔触。未着色的区域保留了画布的自然质感，成为图像周围一片宁静的空气空间。

In "Living Line," the flower becomes a way to speak about the very nature of form—changeable, fragile, and yet resilient. Drawing strives to hold it in place, while the paint and texture of the canvas constantly violate established boundaries. This interplay of control and chance generates the series' unique tension. Nature is not copied here—it emerges anew within the material.

在《生之线》中，花朵成为一种表达形式本质的方式——变化无常、脆弱易碎，却又坚韧不拔。绘画力图将其固定，而颜料和画布的纹理却不断突破既定的界限。这种控制与偶然的相互作用，造就了该系列作品独特的张力。自然在这里并非被复制，而是在材料之中焕发新生。

The line becomes the boundary between image and matter, and the flower is the moment when this boundary becomes life.

线条成为图像与物质的分界线，而花朵则是这一分界线化为生命的瞬间。