The famous religious painter Carl Bloch was said to have dipped his paintbrush in his heart. As an artist, I relate to that statement because painting for me is a way to turn myself inside out and share what is there on canvas. Sometimes I see things that are so painfully beautiful that I can find no adequate words to describe them. My art has become a spiritual language where I can express myself without speaking. And hopefully those who view my paintings will feel what I am trying to say with no words passing between us. I have found that it is through visual imagery that I can best reveal my passions.
As an artist I am more interested in painting my emotional reaction to a subject than in creating a photorealistic rendering of it; consequently my paintings lean more to impressionism than realism. I tend to work in an abbreviated style where the suggestion is more important than the completed statement, and where the parts or details are sacrificed for the good of the whole. I’ve learned that the less I give away in my paintings, the more people seem to read in them. To me, there is more poetry in an image when not every detail is spelled out and the viewer is allowed to solve some of the mystery.
I love to capture the abstract patterns of light and shadow in the subject as, paradoxically, I find this creates a more realistic image when viewed from a short distance. I generally paint things that I am close to, both in distance and in feeling. I am not about depicting vast expanses of nature, but rather of close, intimate corners of personal spaces. Any subject is game for my brush as long as it is beautifully lit. In truth, light is always the subject I find most exciting, as anything it touches is enhanced in depth, dimension, vibrance, and beauty. This is the spiritual implication art has for me.
I consider it the greatest of privileges to be an artist–to notice the grandeur in small things around me, to celebrate them on paper or canvas, and to share my passion for life though my artwork.
Romona likes to trick the eye, using muted colors and blurred contours painted as softly as a whisper. But in reality, her canvasses are a war zone and her weapons of choice-sand paper ends of brushes, rags and anything unconventional she can employ in battle. She knows the skirmish is over when the painting has the power to speak directly to the viewer. When an onlooker cannot resist stepping into her world full of atmosphere, mystery and a mood that takes you back to days gone by, she knows the battle has been won.
Her studio is tucked away in the lush Red Hills of Dundee Oregon, overlooking flourishing vineyards and breathtaking landscapes. Much of her inspiration comes from her surroundings-be it a weathered farmhouse, an ancient alder standing alone in resplendent autumn hues, or a muted meadow that pulls one’s thoughts to a conscious digression.
Self-taught with nature as her classroom and the great masters her teachers, she knew at age four that painting would be her calling. Today you’ll find her paintings as far away as Germany, London, and downtown Manhattan. Her works have been published in the premier art magazines including Southwest Art, American Art Collector, and Art Talk.