Art Chowder January | February, Issue 19 | Page 22

E lsie says, “I use the figure a lot because Dad was a figure painter. I learned by drawing from a model in school. I move from recording people from life to something more expressive, more narrative; things people can relate to. The narrative is a part of it — relationships — between people, lovers or mothers and children.” Her color sensibility is reminiscent of Impressionism or Post-Impressionist European painting. Often the works are pale, almost white, punctuated with bright color and Prussian blue or black line. Most of her paintings are based on “real” stories from her own experiences and those of friends and family. “I start with a specific idea but it could change at any time. Landscape turns into a figure quite often.” Sometimes the landscape elements are representative of the human figures or human emotions, “I have painted entwined trees based on trees I saw in Kalamazoo Michigan; trees are human- like.” Sometimes the work is abstract or based on the “essence of place visited.” She has travelled and collected images in her sketchbook and photos. She also gets inspiration from her friendships with others, including Spokane artist, Tom Quinn. 22 ART CHOWDER MAGAZINE