Ellen Koment first studied at the Cooper Union art school in New York City where she received her BFA and later studied painting with Elmer Bischoff and Jerold Ballaine at U.C Berkeley while
earning her Masters Degree in Fine Arts in 1983. She has taught painting at Santa Rosa Junior College, Western Oregon State College and the University of New Mexico. Her work has been featured in many solo and
group exhibitions in the Western and South Western states. Her interests have included working in multiple media including stained glass--she studied classical techniques in France--photography, wax encaustic,
water color, acrylic and oil. Her oil paintings are often large rich abstractions but have also focused upon figurative problems. She is represented by several galleries across the United States. The Ebert
Gallery in San Francisco is her major West coast representative. Ellen lives and works in Santa Fe, New Mexico.
"Casting Images On the Imagination;
The Paintings of Ellen Koment"
At the center of Ellen Koment's Vision is a passion for exact definition-For
Piero it is a cleancutness; for Vigee-LeBrun it is a neatening; for Koment it is making you see the thing she sees. And what she sees is evidence that she has, in spirit, visited Byzantium -that firmness Of color and certitude of margin. Her shapes disclose no realism of scale but an original feeling of space and air and warmth. It is an approach which is direct and visual-from weight and solidity to luminous and glowing, Her New Mexico paintings are an arrangement of form rather than an accumulation. "The truth of an image is most easily distinguished from the false when the simplest expression is without embellishment," Her visual idea is expressed as powerfully with colour as it is with any exacting form she employs.
Her "Small Red Mountain Sail" is charged by casting a continuous undercurrent of feeling everywhere and seldom anywhere as a separate
excitement. Her most recent Sebastopol paintings are a blending and lengthening of vertical beats and running light in which medium and material, form and content are indistinguishable-blue is cooled over black, red is overwrought with orange and all make one substance-an image defined by cementing marks and thoughts- solid colour is not yet a dead concept. Scintillating splays of lines and intervals are at once diagrammatic and evocative -like the chrysograpbic robes of Paolo Veneziano. Ellen Koment's painting, then, is, a love of colour and texture in the thing seen and, as a corollary. a love for the sensuous qualities of the medium. These characteristics have their origins in a tradition going back to Byzantium. They continue in Koment's Vision as an ionic bonding of the "then and there" and the "here and now."
James Rosen UC, Berkeley May, 1988