Roehne Catalog ISSUU by California State Univeristy Stanislaus School of the Arts

ELLEN ROEHNE Lost and Found

University Art Gallery Department of Art College of the Arts California State University, Stanislaus

500 copies printed Ellen Roehne - Lost and Found University Art Gallery Department of Art College of the Arts California State University, Stanislaus January 3 - February 1, 2007

This exhibition and catalog have been funded by: Associated Students Instructionally Related Activities, California State University, Stanislaus

University Art Gallery College of the Arts California State University, Stanislaus One University Circle Turlock, CA 95382

Catalog Design: Kristina Stamper, College of the Arts, California State University, Stanislaus Catalog Printing: Claremont Print and Copy, Claremont, CA Catalog Photography: Courtesy of the artist

ISBN: 978-09802410-0-6

Cover Image: (front) Growth, 2001, 60” x 15” x 20” mixed media Collection of Angela and Andrew Purviance (back) Drowning Dress, 1997, 12” x 53” x 1” mixed media

Contents

Directorâ&#x20AC;&#x2122;s Foreword . ..

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Ellen Roehne - Lost and Found Essay By Ryan Gurney . ..

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Images . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ..7 Artist Statement. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 29 Curriculum Vitae. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 30 Acknowledgments

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Director’s Foreword This catalog, documents the work of Ellen Roehne. One of the Central Valley’ s most gifted artists, Ellen Roehne has constantly created work that is incredibly interesting and crafted. Ellen Roehne has also been a driving force in the Central Valley’s art scene and art education. The catalog’s essay was written by one of California State University, Stanislaus recent graduates while working closely with Ellen Roehne. I am very pleased to be able to share their work for others to enjoy. Many colleagues have been instrumental in presenting this exhibition. I would like to thank Ellen Roehne for the honor of exhibiting her superb work, Ryan Gurney for his amazing essay, College of the Arts, California State University, Stanislaus for the wonderful catalog design and Claremont Print and Copy for their expertise in printing this catalog. A great thanks is extended to the Instructionally Related Activates Program of California State University, Stanislaus as well as anonymous donors for the funding of the exhibition and catalogue. Their support is greatly appreciated.

Dean De Cocker, Director University Art Gallery California State University, Stanislaus

Ellen Roehne - Lost and Found By Ryan Gurney Assemblage artists often work outside large cities and outside the mainstream, while being aware in varying degrees of the activities of the city and the productions of the contemporary art world. A common thread in assemblage art is that the artists usually have something to say which they communicate using non-traditional materials assembled in personal and unique ways. One such artist is Modesto artist Ellen Roehne. “If it’s just a pretty picture to look at it’s not doing much to make a statement in the world,” Roehne says (pers. comm.). She contends, furthermore, that the good stuff is that which forces the viewer to think. As an assemblage artist, she pieces together a limitless array of objects and materials to produce art that provides something for both the heart and the mind. Receiving her BFA in ceramics and an MFA in mixed media Roehne initially explored art that was more figurative, easily recognized, and readily understood in its subject matter, meaning, and its very appearance. Her movement into assemblage from more conventional art media came about for two reasons. First, an assignment in college presented Roehne with her first foray into the technique of assemblage. The assignment called for students to move away from their chosen medium and create a piece using a style outside of their comfort zones. For this, Roehne chose to abandon the ceramic sculptures with which she was comfortable in favor of bits of fabric and wire. “I loved the freedom of it,” she says of the experience. What resulted was an assemblage piece that was part found-object collage and part installation. The experience ultimately brought about a complete change in how the artist would approach her craft. Secondly, this transition was solidified as the result of a simple lack of materials. Graduation from college meant that she was on her own to fund her work in ceramics. As a student fresh out of school, collage work produced from found objects simply seemed more financially feasible. For Roehne, creating an assemblage piece employs a wholly different process of creation and a completely different way of thinking about art. To begin with, assemblage lends itself more readily to spontaneity than most other media and techniques. Other media, she feels, involve careful planning that gets in the way of creativity and can become restrictive. With traditional media, she says, “You really have to have a good idea of what the end product is going to look like and I think that’s why I don’t do that work as much anymore.” With assemblage, the art almost creates itself. The artist need only direct the flow of creativity until something striking emerges. Roehne’s work frequently deals with the theme of relationships, a subject that is both personal and universal. “If I can connect it with something more deep and personal to me,” says the artist, “it’s going to, I think, make a better art piece.” Some pieces explore the relationship between parent and child, while others delve into the links between man and nature. In the end, the resulting works have a way of tapping into a personal place, a shared experience, to which each of us feels a connection. The freedom possible with assemblage enhances the artist’s ability to capture and convey very complex ideas and emotions 5

through what may initially seem to be a simple collection of objects or images. This is evident in Roehne’s piece called Growth, which consists of a small white shirt with a bundle of broken tree limbs growing up through it. The piece poetically embodies the close relationship that young children often have with nature. Free of the worries that plague adulthood, children interact with their surroundings on an intimate, direct, and fresh level. The patterns of the veins in leaves, a bug crawling over pebbles, the darting flight of a hummingbird fully engage them. And they take the time to notice these small events. With adulthood comes the loss of attentiveness to extraneous details—adults simply don’t have time, and don’t notice. Where we once may have spent an afternoon tying knots in blades of grass or watching the movements of ants, we now worry about paying the phone bill on time or scheduling enough time to get our taxes done. Labor Pains: A Tribute to Saint Anne is a piece that is even more personal than most of Roehne’s work. It recalls the experiences that come with the birth of a child—Roehne has a two-year old and is pregnant with her second child. The title evokes the Catholic saint of childbirth, St. Anne. A number of found objects comprise this altar-like piece, including colored rolling pins, a doll’s head, thread spools, and a child’s dresser. Separately and more pointedly in combination, all refer to aspects of motherhood and the preparation for a new arrival. Three years ago Roehne and a partner opened The Chartreuse Muse, a gallery located in downtown Modesto. The aim of the gallery is to provide a much-needed haven for local artists who share her passion for and commitment to art. Because of Roehne’s fascination with assemblage and her advanced training, the gallery represents many artists who work in unconventional media such as collage and assemblage. Thus, Roehne and her partners have created a place that focuses on the uncommon and serves to support like-minded artists. It is not surprising, given the creative spontaneity of Roehne’s work and her love of and references to children in her art, that another important function of The Chartreuse Muse is children’s art classes. Like many assemblage artists, Roehne developed her appreciation for the medium and her personal style without much in the way of outside influences. Such an unaided artistic evolution allows the artist’s personality to shine through to the viewer. In this respect, the artist’s unique view meets that of the viewer. Perhaps that’s the great thing about assemblage art—it provides a venue where the artist’s intentions, while personal and unique, are communicated through non-threatening, common objects that speak clearly and directly to the viewer. This powerful relationship between artist and viewer guarantees an experience that is always fresh and never exactly the same for everyone.

Roehne, Ellen. Interviews with the artist, conducted by Ryan Gurney, September and October, 2005.

IMAGES

First Born (front) 1996 6” x 5” x 3” mixed media

First Born (back) 1996 6” x 5” x 3” mixed media

Bambi’s Other Story 1998 12” x 12” x 14” mixed media

Imaginary Friend 1997 43” x 20” x 1” mixed media

Drowning Dress 1997 12” x 53” x 1” mixed media

Cinderella Dress 1997 27” x 16” x 10” mixed media

Safe Sacrifice 1997 24” x 18” x 18” mixed media

Safe Sacrifice (detail) 1997 24” x 18” x 18” mixed media

We Have Grown Apart 1998 installation view mixed media

We Have Grown Apart (detail) 1998 installation view mixed media

Tearing My Hair Out to Fill Her Shoes 2001 58” x 14” x 9” mixed media

Animal Wall 1998 varying dimensions mixed media

Listen 1998 83” x 17” x 5” mixed media

Security Blanket 1998 50” x 27” x 2” mixed media

Wool Gathering (front) 2000 7” x 6” x 2” mixed media Collection of Cole Marquis

Wool Gathering (back) 2000 7” x 6” x 2” mixed media Collection of Cole Marquis

Flying Dress 2001 7’ x 2’ x 2’ mixed media

Tea Party 2001 25” x 27” x 20” mixed media Collection of Gayl Gallagher

Growth 2001 60” x 15” x 20” mixed media Collection of Angela and Andrew Purviance

Protection 2001 25” x 26” x 2” mixed media

Something About Mexico 2005 9” x 4” x 7” mixed media Collection of John and Ilene van Gossen

Artist Statement Although much of my work is comprised of a variety of media, there is a common thread throughout and that is narrative. For me, the act of creating work is a connection- to the past, to nature, to others, to beauty. The art work is the story, however abstract, that ties these elements together, weaving pieces of my life in a collection of narratives. Small synchronicities in everyday life are usually what spark my interest to create a piece of work. Much of my work includes clay as a primary medium. I love working with ceramics because of the flexibility of the material and the fact that is it from the earth. Clay also has that sense of mystery, the happy accidents that occur in the building and firing processes. This sense of chance and serendipity appeals to me and is also something that can be found in my work with mixed media. I might stumble upon an object that looks like trash to everyone else but becomes the inspiration for a new art work. My role as a mother and teacher of young children has shaped how I approach the creative process. Finding the beauty in the small insignificant things in life, living with a sense of awe and gratitude at the infinite potential of nature- in essence to see the world through the eyes of a child, that is my goal. The finished product is the visual account of the journey through these discoveries. - Ellen Roehne

Ellen Roehne 2624 Marblehead Circle, Modesto, CA 95355 (209) 492-9208 Ellen-roehne@sbcglobal.net

Education MFA 1998 Sculpture John F. Kennedy University, Berkeley, CA BFA 1993 Ceramics CSU Chico, Chico, CA 1987 Studio Art Romerike Folkehoyskole, Jessheim, Norway

Solo Exhibitions 2007 Lost and Found, University Gallery, California State University, Stanislaus, Turlock, CA 2005 The Muse, The Chartreuse Muse Gallery, Modesto, CA 1999 Animal Tales- performance and installation, Oakland Museum, Oakland, CA 1999 New Work, Central California Art League, Modesto, CA 1998 Girls, Boys and Toys, Arts Annex Gallery, Berkeley, CA 1998 Labels, installation, Arts Annex Gallery, Berkeley, CA 1997 Tea Dreams, The Art Explosion Gallery, San Francisco, CA 1993 Figures on the Wall, Lew Oliver Gallery, Chico, CA 1993 Dreams, installation, University Gallery, Chico, CA 1992 Elements, Phoenix Gallery, Chico, CA 1991 The Figure, Sienna Gallery, Chico, CA

Collaborative Exhibitions 2007 Opening, the Chartreuse Muse Gallery, Modesto, CA 2004 Womenâ&#x20AC;&#x2122;s Work, The Chartreuse Muse Gallery, Modesto, CA 2001 Outside the Box, Modesto Art Center Gallery, Modesto, CA 2001 Three Women Sculptors, Carnegie Art Gallery, Turlock, CA 2000 The Art of Recycling, Stanislaus County Fairgrounds, Turlock, CA 1999 Opening Tricks, Festival of the Arts, Berkeley, CA 1998 Women Artists- New Work, Central California Art League, Modesto, CA 1997 Between Dreams, Art Annex Gallery, Berkeley, CA

Group Exhibitions 2006 Spring, The Chartreuse Muse Gallery, Modesto, CA 2004 Hildegaard Festival, California State University, Stanislaus, Turlock, CA 2004 Alumni Exhibition, John F Kennedy University Gallery, Berkeley, CA

2004 Faculty Show, University Gallery, California State University, Stanislaus, Turlock, CA 2003 Beginnings, The Chartreuse Muse Gallery, Modesto, CA 2002 Grand Opening, The Chartreuse Muse Gallery, Modesto, CA 1999 What is Art For?, Oakland Museum, Oakland, CA 1998 Human Habit, William King Regional Arts Center, Abingdon, Virginia 1998 Lead Into Gold, Gallery Route One, Point Reyes, CA 1998 Animals and Their People, Sebastopol Center for the Arts, Sebastopol, CA 1998 An Homage to Inspiration, Danville Fine Arts Gallery, Danville, CA 1998 Re-Membering, Arts Annex gallery, Berkeley, CA 1998 Graduate Exhibition, John F Kennedy University Gallery, Berkeley, CA 1998 Trash Into Treasures, YWCA Gallery, Oakland, CA 1997 Calcinatio, The Art Explosion Gallery, San Francisco, CA 1997 Journey Into Wholeness, Center for the Visual Arts, Oakland, CA 1997 Collage and Assemblage, Arts Benicia, Benicia, CA 1997 Spring Show, the Art Explosion Gallery, San Francisco, CA 1996 A Woman’s Worth, Wednesday’s Gallery, Santa Cruz, CA 1996 Bay Area Artists, The Art Explosion Gallery, San Francisco, CA 1996 13th Annual Dream Art Exhibit, Claremont Resort, Berkeley, CA 1995 Summer Art Show, The Art Explosion Gallery, San Francisco, CA 1995 Open Studios, The Art Explosion Gallery, San Francisco, CA 1993 California Clay Competition, The Artery, Davis, CA 1993 37th Annual Student Exhibition, California State University, Chico, Chico, CA 1992 Feats of Clay, Lincoln Arts Center, Lincoln, CA 1992 California Works, California State Fair, Sacramento, CA 1992 National Woman’s Month Show, Planned Parenthood, Chico, CA 1991 It Figures, Ayres Gallery, Chico, CA 1987 Romerike Art Show, Radhus Gallery, Jessheim, Norway 1986 International Art Exhibit, Romerike Gallery, Jessheim, Norway 1986 Annual Art Competition, Tehama County Fair, Red Bluff, CA

Public Art Works 2000 Wood Sculpture Garden, Stanislaus County Fairgrounds, Turlock, CA 2000 Dutcher Dolphins, Mural, Dutcher Elementary School, Turlock, CA 2000 Y 2 Kick the Habit, Project Alive Mural, Modesto High School, Modesto, CA 1999 Don’t Let Your Life Go, Project Alive Sculpture, Modesto High School, Modesto, CA 1999 Don’t Smoke, Project Alive Mosaic, La Loma Junior High, Modesto, CA 1999 Summer, Mural, Central California Art League, Modesto, CA 1999 Through the Eyes of a Child, Mural, Julien Elementary School, Turlock, CA 1998 Our School, John Yehall Chin Elementary School, San Francisco, CA 1996 Art Explosion, Mural, Horizons Teen Program, San Francisco, CA 31

Acknowledgements California State University, Stanislaus

Dr. Hamid Shirvani, President

Mr. Daryl Joseph Moore frsa, Founding Dean, College of the Arts

Ms. Susana Gajic-Bruyea, Vice President for University Advancement

Dr. Herman D. Lujan, Interim Provost/Vice President of Academic Affairs

Department of Art

Gordon Senior, Chair, Professor

Dean De Cocker, Associate Professor

Jessica Gomula, Assistant Professor

David Olivant, Professor

Dr. Roxanne Robbin, Professor

Richard Savini, Professor

Dr. Hope Werness, Professor Emeritus

Rowena dâ&#x20AC;&#x2122;Mar Shimun, Administrative Support Assistant

Christian Hali, Instructional Support Technician II

Jon Kithcart, Equipment Technician II

University Art Gallery

Dean De Cocker, Director