Painter and printmaker Ellis was born in Tuscon, Arizona, granddaughter of pioneers. She has traveled extensively in Europe, frequently in France, is a graduate of UCLA, Cal State Fullerton and Universidad de Mexico, achieving Bachelor’s and Master’s degrees in Art and Art History. Ellis has been a teacher of art in various schools, including Coastline Community College, Saddleback College, Orange Coast College and the University of Concordia. Ellis is fluent in French and Spanish, and has studied Latin, Italian, German and Swedish.
Her exhibition history is wide-ranging; her artwork is featured in many private collections.
Ellis’s interest in and fondness for the subject of string theory, as posited by Columbia University’s Brian Greene, is well known, as is her impressive background, but I wanted to learn what drives her to continue to get up and paint every day.
“String Theory, Opus #5”
34" x 26”
oil on paper
2008
MM: Have you always painted? ME: As a 7-year old child, I recall thinking of myself as an artist while creating crayon drawings on blue lined writing paper. But other than childhood drawings and some artistic efforts in high school, which drew applau se from family members, no, I didn’t begin painting in earnest until I was a young adult. Although it sometimes seems as though I always have been involved in creative pursuit.
MM: Can you explain that? ME: I never put a foot in a museum until I was in the intermediate Catholic School in Chicago, St. Scolastica, when we were taken on a field trip to the Chicago Art Institute, but was blessed with an enriched childhood, filled with inspiration and encouragement to explore. That support became “permission” of sorts to open my eyes wide and satisfy my curiosity, the result of which took the form of an interest in all things artistic, ultimately leading me to my love of painting.
MM: Was any individual a particular influence on your youthful artistic endeavors? ME: Although I wouldn’t say I had an “advantaged” childhood, I had the advantage of being the child of parents who encouraged a full education, my father particularly. Losing him at a young age (he was only 42) was very, very difficult. This was during a time when roles for women were often static and pre-determined without opportunity for the individual to participate in choosing her future. My father bequeathed to me an attitude that the world is there for women to participate in, just as men do. I was exposed to a solid, challenging education filled with core curriculum, and encouraged to participate in arts and humanities. My life has not been without its difficulties, but looking back, I’ve chosen to act upon the many wonderful things that have either been intentionally put in my path or those gems I have stumbled upon.
MM: What did your education contribute to your life vision? ME: I owe much to a classical education. I managed to do well which served to open more doors, not only in the arts, but also in a wide variety subjects. This created a healthy mindset while growing up, an outlook that caused me to see interconnectivity between history, arts and sciences, sociological, and religious and cultural issues. Understanding such interconnectivity is what has led me to an appreciation of concepts such as Greene’s string theory.
MM: Is there a particular person, place or event that has most influenced your love of art and painting? ME: Although my high school was not very inspirational for my art, I was given excellent instruction at El Camino Jr. College in Manhattan Beach. I received excellent Art instruction at UCLA which was significant in developing a love for Art History. Later, I traveled to European museums which significantly enhanced my personal development as an artist. Mexico and Europe caused me to be interested in foreign languages, which I later taught—as well as art.
“L’Opera Comique”
34" x 26”
oil on paper
2008
I believe studying under printmaker and painter John Paul Jones was seminal to what I continue to do each day. If readers are not familiar with Jones, I encourage them to look him up on the Internet. His work as an artist and as a teacher at UCLA and UCI was, and continues to be, very important.
MM: How does your varied background feed your artwork? ME: I suppose curiosity is the key. I am so very curious about life and about everything I see, hear and touch. A diverse background has opened my eyes, but perhaps more importantly, has provided a means to understand how to communicate that vision. One must develop his/her individual manner of self-expression. At one point in time, I was certain my ideas would be expressed in words as a writer, and still think there may be something to explore there. But painting my visions is what I truly hunger to do each day. My background provides me with points of comparison, evaluation, interpretation, and the ability to transfer those visions onto canvas with paint.
MM: You used the word “hunger” to describe your need to paint. Can you tell us more? ME: I always had a hunger or craving for art, once I was introduced to it. I suspect I use the word hunger because if you ask me why I keep painting, I will ask you “why does a person eat”: to live, to survive. I must paint each day. If not actually painting with paint and brush, I must be involved in the process of planning, dreaming, imagining and problem solving the next painting. It’s a way of life with me. There are no options in this. If I must be away from the painterly process due to circumstance out of my control, I get out of sorts. Three days is pretty much the maximum time I can be diverted from my artwork before feeling wayward.
MM: What are you trying to express in your work? ME: In a word, “Everything”. I’ve always wanted to express my perception of how I see line and color mingle and merge in our world. I enjoy exploring the color relationships found in nature. Nature and organic shapes have always had special meaning for me. Even though the surrounding city (of Corona del Mar) has changed dramatically in the many years we have lived here, I am still blessed by the ability to step outside my door and enjoy an abundance of greenery and natural elements.
Exploration of string theory has only heightened my interaction with nature because I am now aware that we all live in the midst of energetic forces that cause vibrations on micro and macro planes that influence how we experience ourselves in the world. Through my artwork, I strive to express how I experience my world as a result of this knowledge. I work to create vibrations in my art pieces, both in color selection and in the materials I select.
I think we are all surrounded by great amounts of beauty and interesting subjects. I hope to continue with my artwork, capturing and sharing whatever I am able to grasp from the world around us.
MM: What materials do you use? ME: I used water-based and oil-based printers’ inks on paper, along with oil bars. I order special printing inks directly from a printer in Albuquerque. I have also used regular oil paints. I’ve also created a series of monoprints.
MM: I see your paintings are beautifully displayed throughout your home. ME: My home is my gallery as well as my studio. These paintings are somewhat like my children. I deliberately keep my work around me in order to see the process of the past decades. It’s been an amazing journey, and the evolution plays itself out in front of my eyes in this variety of work.
“Elephant”
22" x 30”
oil on paper
2008
MM: What are you working on now? Do you have any planned exhibits? ME: I’m currently dabbling with variety. I’m working on a couple of animal-themed pieces and, of course, I continue to explore string theory work.
I’m happy to report that I will be have a solo show at Winnow Gallery & Goods in Newport Beach in the near future. That’s very nice for me. I will also be showing at the Center Club’s “Night of Indulgence” on September 26. Keep your eye on the SCA website for show dates and times.
