In this work, wine is not just the subject, but a living material and cultural memory. This painting, created with white wine, red wine, and ink, depicts a glass of white wine: a simple, suspended image that becomes a meeting point between artistic gesture and winemaking ritual.

White wine, used as the main pigment, conveys the idea of ​​light, expectation, and silent transformation. Its natural oxidation imprints the passage of time on the painting, making the work a constantly evolving organism.

Red wine intervenes as an echo of history: it recalls the earth, the body, and the human labor that has accompanied the cultivation of the vine for millennia. Wine is one of the earliest witnesses of civilization: a sacred ritual, a currency of exchange, a symbol of celebration, of blood, of land, and of memory. Using it as a pigment means entrusting centuries of repeated gestures, of hands that have cultivated, waited, celebrated, to the work. Red wine carries with it the density of the body and sacrifice; white wine carries with it light, suspension, the idea of ​​transition.

The painting thus becomes a stratification of time: agricultural time, historical time, the time of oxidation, and the time of the gaze. Nothing stands still, nothing is definitive. Like wine, the work continues to transform, reminding us that art, even before being a form, is an act of faith in time.

The ink, on the other hand, marks the artist's conscious presence, a trace of control that dialogues with the unpredictability of the material.
Displayed in a cellar, the work resonates with its setting: here, wine is born, matures, and transforms, just as the painting lives on beyond its creation. The depicted glass is not just a container, but a symbol of shared time, memory, and culture.
Larisa Tinta transforms wine into an image to remind us that, before being drunk, wine is history, gesture, and identity.