Elizabeth Romhild’s ODYSSEY
This book is dedicated to my family, who have been with me throughout this journey.
ELIZABETH’S ODDESSY
Early Years 1967
Drawing / Watercolour 1985‑1987
Oils Seascape / Landscape 1988
Charcoal and Oil Nudes 1989
Motherhood 1990‑1992
Depth Of Feelings Drawings 1995 Woman and Orange 1996‑1997
Elizabeth Romhild’s ODYSSEY
© Elizabeth Rømhild 2024
ISBN: 978-87-92769-33-6
Layout: Elizabeth Rømhild
Prepress and print: Narayana Press
Typeset: Bodoni Moda and Freight Sans
It is an honor to be part of Elizabeth Romhild’s Odyssey.
In the early 1990s, I became acquainted with my neighbors at Topsy Turvy Nursery School on Sukhumvit 4, Soi Nana, Bangkok. Through Henrik, a friend of my son Nath, who was about 4 years old, I met Peter and Elizabeth Romhild. Henrik and Nath played a lot together and one day we were invited to their home at Soi Samaharn.
Over the years, I enjoyed immensely observing Elizabeth’s development as painter, sculptor and ceramist, fascinatingly, her use of bold, garish colors with subjects mainly related to women in various moods and motion. These women are models, friends and acquaintances, who came under Elizabeth’s scrutiny and observation. Their writhing figures reflect joy, happiness and pleasure.
As a female who taught herself how to paint, Elizabeth might be seen as a female Sunday painter. But Elizabeth does not paint only on Sundays. In fact, she has dedicated herself to painting for the last four decades. Apart from female subjects, her works are records of her life’s journey through sojourns in Saudi Arabia, USA, Kenya, Indonesia and Thailand. Elizabeth captures scenes of villages, slums and landscapes with energy and vigor.
In the past, European painters including Cesare Ferro, Galileo Chini, Walter Spies, Rudolf Bonnet, Arie Schmidt and Theo Meier who lived in Southeast Asia recorded serene life and women through the male gaze. The allure of female sensuality in Siam or the attraction of Balinese women on the island of the bare breasts reflected Western stereotype on Asian women. Mixed with dominant gaze and fantasy often women appeared to be objects of desire and exoticism.
For Elizabeth, she prefers to paint women with a different slant. Her models and sometimes her own portraits are vivacious, carefree and mischievous. These ladies gaze back at the viewers and sometimes challenge their dominant stare.
In Circle of Fruits (1997), a hairless female stretches on a couch as a dish of fruits flies in the air. Cherries balance on her nipple as she licks a bunch of grapes. With a cubist twist Elizabeth creates her own interior where she becomes a juggler of objects.
In Content, (1998), Black Fan (1998) and Woman in Red (1998), the naked model is compressed within the frame displaying her naked breasts and erect nipples. She is indulging herself with spirits and smoke. Contented, she is aware of the viewer’s gaze as she shows off her body. In contrast, Three Bathers series display serene and calm as the three graces with flowers in their hair wash and bathe oblivious of the onlooker.
Music, nightlife and dance in Bangkok are scenes that make Elizabeth’s works come alive with robust energy. Piano, jazz and women in bars
and nightclubs are Elizabeth’s favorite subjects. Promiscuous and vulgar, scenes depict erotic shows and naked dancer with a giant orange snake with blue spots between her legs.
In Moonlight Ecstasy (2002), three voluptuous women dance the night away in celebration of joie de vivre. In cabaret scenes, an orgy of flesh and drunkenness reflect life of these women who suffer abuse and violence as part of their profession. Elizabeth sees them with compassion as fellow female human beings. Her neighborhood on Sukhumvit 4, Soi Nana is a world-renowned night entertainment complex. As Bangkok nocturnal industry thrives these women (men and transgender) workers are integral part of the entertainment ecosystem. However, they lack welfare benefits and protection. They are maltreated as they are seen as part of Thai sex industry.
In Eros and Succubus series, the dark femme fatal emerges. Succubus is a seductive female demon who lures men in temptation. Dark and somber tones surround the fornicating couple, where the male is succumbed and trapped underneath the menacing female demon, who gazes back shamelessly at the viewer. Small red horns protrude from her black mangled hair as she rides her partner/victim with vengeance. In Moan (2010), multiple heads twist and turn as if they are in orgasmic fantasy. In contrast, Incubus series depict mythical male demon with his face hidden. Details of crossed legs, flesh and human parts evoke ambiance of macabre and menace.
Elizabeth participated in the survey art exhibition Thai Trends from Localism to Internationalism in 2012 at Bangkok Art and Culture Centre. The exhibition traced the development of Thai modern and contemporary art over seven decades. In recognition of foreign artists living in Thailand, Elizabeth is among many foreign and expatriate artists, designers, architects, writers and musicians, whose contribution to the Thai art scene is frequently overlooked. Her bronze sculptures Freedom (2010) and Sensual I (2010) depict female torsos with head and limbs missing. Like Venus and Gaia, they symbolize love and fecundity as well as trauma and sorrow.
This book is a culmination of Elizabeth’s achievement over four decades of dedication. Moreover, it is a testimony of a long relation between Danish-Thai community that harks back to the time of East Asiatic Company in the 19th Century.
Let us indulge in Elizabeth’s Odyssey.
Dr. Apinan Poshyananda Artistic Director
Preface
Welcome to “Elizabeth Romhild’s Odyssey,” a visual art book that invites you to embark on a profound journey through a series of artworks inspired by my life experiences. As a self-taught artist, my creative journey has been deeply influenced by the rich tapestry of cultures I have encountered while living in different countries. These experiences have infused my work with unique perspectives, styles, and themes.
Over the course of my forty-year art career, I have created many pieces, each reflecting the influences and inspirations drawn from the places I have lived and the people I have met.
This book is the culmination of years of dedication, exploration, and artistic expression. Whether on canvas, in bronze sculptures, or through lifestyle products, the works gathered here are deeply personal yet universal.
Through my odyssey, I explore my life’s journey across various cultures and emotions. This narrative has allowed me to express my experiences – joy and sorrow, hope and despair, strength and vulnerability – mirroring the complexities of our own lives and inviting us to reflect on our paths and the odysseys we undertake.
The process of creating this book was as much about discovering my own story as it was about uncovering new facets of my own creative expression.
“Elizabeth Romhild’s Odyssey” is designed to be an immersive visual experience. As you turn each page, I invite you to pause and absorb the intricate details and testimonials. This is not a story told through words alone but through the universal language of art, where every image speaks volumes.
Having completed numerous art pieces over the years, I felt it was time to compile them into a beautiful coffee table book for you to enjoy in the comfort of your home. My hope is that this book will resonate with you, challenge and inspire you. Whether you are an art enthusiast, a casual observer, or someone seeking a deeper connection, I believe there is something within these pages for you to discover.
May “Elizabeth Romhild’s Odyssey” leave an indelible mark on your heart, as creating it has left on mine.
Elizabeth Romhild
Colours came early to me: Childhood still life drawing at age 7, 1967
Childhood in Persia
From my earliest years, I discovered a passion for self-expression through pen and paper, capturing vibrant impressions colored by the rich tapestry of Persian culture. The serene blues evoke the tranquility of Persian architecture, while the deep reds resonate with the passion found in Persian poetry.
The bold colors on my canvases mirror the hues of my Persian and Armenian cultural heritage, complemented by the Danish free spirit.
Despite facing academic challenges, these obstacles only fueled my determination to carve out a unique identity through my art. My path became a solitary exploration, shaping the distinctiveness that defines my work today.
An Artist Born in Indonesia
Married life took us to Riyadh, Saudi Arabia, where the enchanting souks and the sensual cinnamon colored sand dunes against a backdrop of a blue sky captivated my senses.
A short sojourn to the USA in 1984/85 was followed by a move to Jakarta, where my true artistic journey began.
Numerous international artists have found inspiration beneath Indonesia’s spellbinding equatorial skies. Having lived four years in the sandy colours of Saudi, follow-
ed by the NY suburban life, the lush tropical colours and smell, all awoke new senses in me. I never knew how much it would mean to me and that’s when at the age of twenty six, I delved into the artistry of painting, focusing on realistic portraits and scenes within and beyond Jakarta. Soon, I earned the moniker “the beautiful slum painter,” as I drew inspiration from the captivating textures of everyday life – rust on metal roofs, green mildew on walls, slippers, cooking pans, empty oil barrels, and clothes hung
out to dry. My quest was to capture the essence of life without directly depicting living beings.
As my artistic journey evolved, I explored the vibrant world of rich and luscious oil colors. Weekends spent amidst the tea field mountains of Punchak and the enchanting Thousand Islands inspired my foray into landscapes and seascapes. This chapter of my artistic exploration is a testament to the beauty found in both the mundane and the extraordinary.
The first painting I sold, Jakarta
‘Behind the wall’ 1986, 70 x 50 cm
Watercolour on paper
Dwellings by the river 1986, 35 x 50 cm
Watercolour on paper
The debut series in watercolor reflects the rustic allure of my surroundings through emotive and expressive paintings.
Jakarta Post, May, 1986
“Elizabeth displayed great careful observance of the situation in Jakarta. Slum areas in Jakarta as depicted in ‘Above the canal’ and ‘Dwelling by the river’ become a fine work of art in Elizabeth’s hands. “I try to put life into the paintings, because
actually I am more interested in the way people live.” Elizabeth told Jakarta Post.
Another of Elizabeth’s work, entitled ‘Kitchen’ shows her observance of how people live in kampung areas in Jakarta.”
After Breakfast, 1986, 70 x 50 cm. Watercolour on paper
The Kitchen, 1986, 50 x 35 cm. Watercolour on paper
“It’s funny that people pay much attention seeing worthless slums as though seeing a treasure, after it is painted and valued as a work of art. While not designing to look at real slums before, though they are nothing but the source of inspiration.
Our eyes seem to have deteriorated. We should “borrow” eyes of others to see, by reading books, seeing paintings, rather than go and see the real sights of inspiration ourselves.”
Above the Canal, 1986, 100 x 80 cm. Watercolour on paper
Kampong Collage, 1986, 35 x 50 cm. Watercolour on paper
The Water Well, 1987, 50 x 70 cm. Watercolour on paper
Borobudur, encountered in 1986, ignited a transformative inspiration, guiding me to approach a more liberated and textured style in my water colour painting inspired by it, breaking away from the constraints of my earlier slum watercolor pieces.
Borobudur Alive I, 1987, 60 x 40 cm Watercolour on paper
Borobudur Alive II, 1987, 60 x 40 cm Watercolour on paper
As my artistic journey unfolded, I immersed myself in the vivid world of rich and luscious oil colors, drawing inspiration from weekends spent amidst Punchak’s tea field mountains and the captivating Thousand Islands with their tropical stormy skies.
This chapter in my artistic journey stands as a testament to the deep beauty discovered in both the ordinary and extraordinary facets of life.
After the Storm in Punchak 1987. Oil on canvas
Weekend in Punchak, 1987, 35 x 50 cm. Oil on canvas
Tropical Garden in Punchak, 1987, 50 x 60 cm. Oil on canvas
Landscape in Punchak, 1987, 80 x 100 cm. Oil on canvas
Mountain Passage in Punchak, 1987, 50 x 60 cm. Oil on canvas
The diverse expressions of the magical skies over the Thousand Islands, Indonesia, brought to life through the strokes of my artistic paintbrush.
Reflections in the Sunda Strait, 1987, 50 x 60 cm. Oil on canvas
Late Afternoon in Sambolo, 1988, 80 x 100 cm. Oil on canvas
Illumination in Pulau Putri, 1987, 100 x 80 cm. Oil on canvas
Night Falling on Krakatoa, 1988, 40 x 50 cm. Oil on canvas
Above: Sunset in Pulau Putri, 1988, 40 x 50 cm. Oil on canvas
“Over the centuries, Indonesia’s allure has captivated numerous visitors, sparking creative endeavors inspired by the enchanting spirit of this tropical archipelago. In 1985, Elizabeth arrived in Jakarta, where her artistic journey unfolded. I vividly recall her visit to the Duta Gallery in 1988, showcasing her inaugural oil paintings – landscapes capturing Jakarta, Bali, and beyond. Despite the curator’s initial hesitancy, Elizabeth’s receptive nature led to collaborative analysis, setting the stage for a promising artistic future.
The collaboration flourished, culminating in a solo exhibition in August 1987, primarily featuring captivating seascapes. While the exhibit hinted at her potential, it marked the pivotal starting point for Elizabeth’s artistic trajectory. Upon relocating to Thailand, she transitioned from landscapes to personal visions, evolving into a true artist. Remarkably, she swiftly discovered her inner talent, reaching the zenith of her compositions around 2005.
Elizabeth’s oeuvre reflects an oriental dream, likely influenced by her childhood in Iran and infused with vibrant hues from her Armenian heritage. The most compelling aspect lies in the fusion of sensibility and spontaneity, conveying a profound passion akin to spiritual eroticism. Her art, with stunning colors and shapes, authentically radiates warmth and sensuality.”
In 1988 I wrote on her invitation:
“The talent and the ambition of this young lady shows promising future” … I was fortunately not proven wrong, and thirty years later I can conclude: “Elizabeth paints for our pleasure. During all these years she has confirmed her skill, and in painting she has nothing to learn any longer!”
Didier Hamel Director & Curator
Duta Fine Arts Foundation
Jakarta Indonesia
A Move to Thailand End of ‘88 …
Every relocation influences an artist.
My transition to Thailand evolved into a journey to explore and define my identity as an artist followed by an artistic evolution through motherhood.
Monks morning walk. Ink pen on paper
Old East Asiatic Building, Bangkok 1996. Oil on canvas
Opp. page: Bangkok city sketch studies 1988
Exploring my artistic essence within the dynamic city of Bangkok, amid Siam’s vibrant cultural tapestry, has led to profound transformation. The captivating locale’s rich hues and intricate layers serve as boundless inspiration, resonating deeply with my creative spirit. Monks draped in saffron robes, performing a ritualistic morning sun greeting, become a poignant symbol in this enchanting setting, adding a serene
and contemplative dimension to my artistic narrative. Guided by the monks’ presence, the delicate interplay of light and color intricately weaves a nuanced thread into the fabric of my evolving artistic identity. This chapter in my artistic odyssey, shaped by the pulsating energy of Bangkok and the spiritual grace of the monks, signifies a harmonious fusion of cultural richness and personal growth.
Temple in Monlight 1995, 50 x 60 cm. Oil on canvas
Temple II 1996, 35 x 45 cm. Oil on canvas
Temple I 1996, 35 x 45 cm. Oil on canvas
Temple III 1996, 35 x 45 cm. Oil on canvas
Morning Stride 1996, 35 x 45 cm. Oil on canvas
Inspired by a 1996 article in the Bangkok Post about the resilience and heritage of the Thai white Lamphun cattle, I painted a hardworking Lamphun cow enduring the harsh sun yet radiating peace. To symbolize its sacredness and endurance, I adorned its third eye with gold leaf. This artwork reflects the cattle’s historical significance and serene strength amidst challenges. Despite the shift towards foreign breeds, these cattle remain vital to Northern Thailand’s cultural and agricultural history. My painting honors their enduring spirit and rich legacy, emphasizing the importance of preserving heritage.
Lamphun Cow 1996, 130 x 150 cm. Oil on canvas
The late ‘80’s ushered in a vibrant chapter of metamorphosis in my artistry. A yearning for the mesmerizing landscapes of Indonesia, where thunder skies danced over tea fields and islands sprawled in the distance, prompted a quest for inspiration. A chance encoun-
ter with live nude sketching in the bustling energy of Bangkok became a catalyst for transformation. The once picturesque landscapes evolved into sinuous, reclined nudes, birthing a profound fascination with capturing the essence of women in my art.
Immersing myself in the realm of womanhood, the joy of motherhood became my magnum opus, as a daughter and a son emerged as living canvases of love. Motherhood, an uncharted voyage of emotions, cast a spell on my art, shaping it in ways unknown.
Nude II 1997, 50 x 60 cm. Oil on canvas
Inhaling light, releasing darkness Poor out for peace within Striving for balance Hopeless and dancing
Birth of the egg Mother, mother, downward pull of helpless hands Thai dancer 1 Thai dancer 2
Loss of identicy Scream Ying and Yang Sunday afternoon
Embracing the journey of motherhood, a cascade of new emotions – love, worry, anxiety, guilt – left an enduring impact on my art. The entire experience, from creating life within to navigating the responsibilities of motherhood, profoundly influenced my artistic expression.
Unable to immediately return to my oil brushes, I explored creatively through a series of 16 surrealistie drawings. Hands, feet, eyes, and noses were deliberately “misplaced,” yet danced harmoniously, capturing life’s
intricate balance amid the challenges of motherhood. Each holding philosophical meanings such as, the Loss of Identity emerged, leading me to search for the new version of myself postbirth.
Nude VIII 1997, 80 x 100 cm. Oil on canvas
Discovering Artistic Voice Through Motherhood
Awoken by a vibrant moment at the Mandarin Oriental Hotel in Bangkok, where an ultramarine blue bowl cradled a burst of oranges, my creativity flourished into a distinctive artistic expression. The interplay of color and captivating curves set ablaze a series of whimsical oil paintings, unveiling my unique artistic voice. The embrace of motherhood and the rounded form of the oranges evolved into a motif evoking a woman’s breast, breathing life into my acclaimed piece, “Woman and Orange.” This enduring theme, highlighting the circular allure of the breast and celebrating womanhood, coupled with the enchanting blue from the bowl, stood as a central color palette throughout my artistic journey for years. The circle, a symbol of eternal love, remained an integral motif in my odyssey of artistic exploration.
Woman & Orange 1997, 30 x 40 cm. Oil on canvas
Woman & Orange I 1997, 40 x 50 cm. Oil on canvas
Women with Cigarette 1997, 50 x 60 cm. Oil on canvas
Three Women & one Orange 1997, 60 x 80 cm. Oil on canvas
Oranges I 1997, 35 x 45 cm. Oil on canvas
Oranges II 1997, 35 x 45 cm. Oil on canvas
Oranges III 1997, 35 x 45 cm. Oil on canvas
Circus of Fruits 1997, 130 x 150 cm. Oil on canvas
Whisper 1997, 50 x 60 cm. Oil on canvas
Whisper II 1997, 50 x 60 cm. Oil on canvas
Elizabeth with Circus of Life 1997, 130 x 150 cm. Oil on canvas
“Inspired by my children’s carefree art, my work underwent evolution. Unafraid of making mistakes, I explored new perspectives, combining unusual compositions. The ‘Breast saga’ persisted, symbolizing love and life.”
Opposite page:
Cup Circus 1998, 150 x 120 cm. Oil on canvas
Cheese and Wine 1996, 50 x 60 cm. Oil on canvas
Thoughtful Moment 1998, 50 x 60 cm. Oil on canvas
Two Green Peas 1998, 50 x 60 cm. Oil on canvas
Woman and Cigarette 1998, 50 x 60 cm. Oil on canvas
Woman in Thoughts 1998, 50 x 60 cm. Oil on canvas
Cabaret 1998, 50 x 60 cm. Oil on canvas
Woman & Orange VI 1997, 80 x 100 cm. Oil on canvas
Woman & Orange IV 1997, 80 x 100 cm. Oil on canvas
Snake Woman 1995, 50 x 60 cm. Oil on canvas
Woman with Mirror 1998, 50 x 60 cm. Oil on canvas
Woman combing Hair 1998, 50 x 60 cm. Oil on canvas
180 cm. Oil on canvas
The Pianist 1998, 120 x 180 cm. Oil on canvas
Regularly inspired by my own artistic creations, I find motivation in representing them with a variety of emotional tones drawn from identical poses.
Bangkok 1998
Woman in Red 1998, 80 x 100 cm. Oil on canvas
Content 1998, 80 x 100 cm. Oil on canvas
Black Fan 1998, 80 x 100 cm. Oil on canvas
Two Cherriess 1999, 80 x 100 cm. Oil on canvas
Three Musicians 1999, 150 x 200 cm. Oil on canvas
Nude on Rug 1999, 130 x 150 cm. Oil on canvas
A Delicate Equilibrium Between East Meets West
In the blend of East meets West, an aura of grace and charm takes center stage. The captivating allure of sensual women, highlighted by their distinctive cat-like eyes, threads through a lively tapestry featuring bold ladies in cafés or during moments of hair-combing. Each face emanates shared pride, elegance, and inner harmony, all the while concealing individual private secrets.
Opposite page clockwise:
Woman & Orange 1998, 80 x 100 cm. Oil on canvas
Elizabeth in Bangkok Studio 1998
Dream 1999, 50 x 60 cm. Oil on canvas
Woman and Orange 1999, 80 x 100 cm. Oil on canvas
Snake Woman 1999, 60 x 80 cm. Oil on canvas Tiger Woman 1998, 60 x 80 cm. Oil on canvas
Yellow Parrot 1998, 80 x 60 cm. Oil on canvas
Dream 1999, 50 x 60 cm. Oil on canvas
Secret 2001, 50 x 60 cm.
Oil on canvas
Oriental Woman III 1999, 35 x 45 cm. Oil on canvas
1997, 35 x 45 cm. Oil on canvas
Forbidden Fruits
Amidst the lush embrace of a tropical paradise, exotic women adorned with vibrant hues navigated the sundappled jungle. Draped in vivid fabrics, they carried baskets brimming with forbidden fruits, each piece a symbol of mystery and allure. Whispers of ancient tales lingered in the air as the women, guardians of their enigmatic harvest, ventured deeper into the heart of the lush wilderness. The forbidden fruits, a blend of exotic flavors and untold stories, held the promise of a journey beyond the vibrant foliage, beckoning those who dared to taste the forbidden sweetness of the tropical secrets concealed within.
Island Love 2002, 60 x 150 cm. Oil on canvas
Three Bathers 2000, 130 x 150 cm. Oil on canvas
Inginue 2000, 60 x 80 cm. Oil on canvas
Friendship I 1998, 60 x 80 cm. Oil on canvas
White Lan-tom 2000, 60 x 80 cm. Oil on canvas
Friendship I 1998, 60 x 80 cm. Oil on canvas
Dancer 1999 60 x 80 cm. Oil on canvas
Friendship II 1998, 60 x 80 cm. Oil on canvas
My artwork mirrors both my distinctive viewpoint and the impact of my tropical environment.
Three Bathers II 1999, 130 x 150 cm. Oil on canvas
Pomelo 2000, 85 x 150 cm. Oil on canvas By the Beach 2001, 60 x 80 cm. Oil on canvas Bird of Paradise III 2001, 65 x 110 cm. Oil on canvas
Red Kampu I 1999, 85 x 150 cm.
Oil on canvas
Bird of Paradise I 1999, 80 x 100 cm.
Oil on canvas
Island Woman 2001, 60 x 80 cm.
Oil on canvas
Piano
From the earliest chords of my childhood, the piano emerged as more than just an instrument – it became a visual symphony in my drawings.
Enchanted by the rhythmic magic and harmonious melodies, I found inspiration in the elegant form of the piano and the whimsical dance of its keys. My mum’s playing, infusing our home with a melody that resonated with my artistic soul, added a personal touch to this creative journey.
This early connection with the instrument blossomed into a recurring motif in my art, as I sought to capture the emotions it stirred within me. The piano, with its timeless allure, laid the foundation for a lifelong artistic journey, weaving its way into the very fabric of my creative expression on the canvas. The voluptuous shapes of instruments now resonate, mirroring the sensual curves of the women who wield them. The piano, narrating a story of both feast and melancholy through its powerful tunes, becomes a central character in a passionate theatrical performance, creating a captivating narrative for viewers to immerse themselves in.
Jazz I 2000, 195 x 205 cm.
Oil on canvas
page clocwise:
This page:
On Board 2001, 30 x 40 cm. Oil on canvas
Gossip 2000, 80 x 100 cm. Oil on canvas
Mozart 2002 60 x 80 cm. Oil on canvas
Opposite
Midnight Oil 2000, 65 x 70 cm. Oil on canvas
Fix 2000 50 x 60 cm. Oil on canvas
Feline 2001, 65 x 70 cm. Oil on canvas
Smoke 2001, 50 x 60 cm. Oil on canvas
“In the world of art, a subtle boundary separates eros and vulgarity; I, however, capture the essence of a woman with my brushstrokes.”
Seduction 2001, 50 x 60 cm. Oil on canvas
Previous page clockwise:
Masquerade 2001, 80 x 100 cm. Oil on canvas
Exotic Fruits 2001, 80 x 100 cm. Oil on canvas
Threesome 2002, 110 x 120 cm. Oil on canvas
Woman & Apple 2001, 80 x1 00 cm. Oil on canvas
Woman with Wine 2001, 80 x 100 cm. Oil on canvas
The jazz bar’s intimate ambiance is eloquently portrayed, as women take charge of the piano, spinning narratives with their nimble fingers dancing on each melodic note. The canvas pulsates with emotions, conveying tales of strength, love, and intrigue. Adorned with masks, the women utilize them not as concealment, but as a means to unveil the intricate layers of their emotions. Behind these masks, a spectrum of feelings blends seamlessly with the jazz tunes, forging a mesmerizing union of music and mystery on the canvas.
JazzII II 2001, 195 x 205 cm.
Phantom of Jazz 2002, 110 x 120 cm.
Oil on canvas
Smoke ll 2002, 50 x 60 cm. Oil on canvas
Lollipop 2002, 50 x 60 cm. Oil on canvas
Gin 2002, 80 x 100 cm. Oil on canvas
Opposite page: Nubian Blue 2002, 80 x 80 cm. Oil on canvas
Forbidden Fruit 2002, 60 x 150 cm. Oil on canvas
In this enchanting painting the canvas comes alive with a mesmerizing dance of four women, each a maestro in her own right. Dressed in a symphony of colors, they wield instruments like extensions of their souls. With black gloves, their hands become sorceresses, caressing the piano keys, coaxing melodies from the cello, weaving magic with the flute, and summoning passion with the violin. The scene unfolds like a poetic composition, where the art of music merges seamlessly with the artistry of these four captivating women, casting a spell of timeless allure.
Opposite page: Moulin Rouge 2002, 150 x 200 cm. Oil on canvas
Lust 2002, 85 x 155 cm. Oil on canvas
Opposite page: The Last Tango 2003, 200 x 150 cm. Oil on canvas
Opposite page:
Moonlight Ecstasy 2002, 130 x 150 cm. Oil on canvas
Sunlight Ecstasy 2002, 130 x 150 cm. Oil on canvas
“I paint full-size women because I’m fascinated by the confidence of Rubenesque figures, who know that true beauty comes from within, reflected in the way they carry themselves.”
“My artwork contributed to the support of the Breast Cancer Center, expressing the enduring strength found in inner beauty.”
I had the extraordinary opportunity to meet H.M. Queen Sirikit of Thailand on June 11, 2005, during the inauguration of Chulalongkorn University’s long-awaited Breast Cancer Centre, led by the Thai Red Cross and surgeon Dr. Kris Chatamra.
Not only did I have the privilege of meeting Her Majesty, but as the sole foreigner among 42 Thai nationals, I received a lapel adorned with Her Majesty’s crest.
I had earlier organized a fundraising evening, auctioning my artworks “Queen of Hearts” alongside 1,000 bottles of Rosemont wine featuring my painting on their labels. This initiative supported Dr. Kris in raising funds for the Queen Sirikit Breast Cancer Centre. Dr. Kris presented my wine bottles to Their Majesties, explaining my work.
With the Queen’s permission, I donated the ‘Moonlight and Sunlight Ecstasy’ paintings to Dr. Kris for display in the Breast Cancer Centre.
These paintings convey the philosophy that a woman can remain beautiful after breast cancer, celebrating inner pride and radiance. Despite unconventional shapes, the women in the paintings are perceived as beautiful because they exude great pride and glow – a sentiment I believe we should all embrace.
Now showcased on the centre’s ninth floor, the paintings were personally presented to Her Majesty, embodying the enduring philosophy that outer beauty may fade, but inner beauty remains. Be positive, proud, and let your inner beauty shine.
Dr Kris Chatamra’s Interpretation of Queen of Hearts
“Queen of Hearts” is a powerful painting displayed at the Queen Sirikit Breast Cancer Center in Bangkok, symbolizing the emotional journey of a woman facing a breast cancer diagnosis. The artwork masterfully captures the delicate balance between strength and vulnerability, portraying two figures – the queen, traditionally embodying authority and resilience, and another figure with a chessboard tongue whispering in her ears. The confusion and vulnerability depicted on the queen’s face mirror the emotional whirlwind accompanying the diagnosis.
The symbolism, notably the juxtaposition of the queen and the heart, adds layers of complexity to the narrative. The viewer is immersed in the silent conversation between these elements, feeling the weight of the emotional journey laid bare on the canvas.
“Queen of Hearts” encourages contemplation on the resilience of the human spirit in adversity. The depicted confusion serves as a universal metaphor for the myriad emotions that surge through a woman confronting breast cancer. It prompts reflection on the strength required to navigate the intricate maze of emotions, ultimately portraying a queen, who triumphs over her own narrative of survival and triumph.
The painting was auctioned and subsequently donated to the Queen Sirikit Breast Cancer Center in Bangkok, where it is now displayed. Its evocative imagery and profound symbolism make it a poignant tribute to the emotional strength and resilience of women facing breast cancer.
Dr Kris Chatamra MBBS (London), FRCS (England), MD (London) Fellow of the Royal Society of Thailand. Director of the Queen Sirikit Centre for Breast Cancer and Foundation (QSCBC)
Opposite page: Queen of Hearts 2005, 80 x 80 cm. Oil on canvas
Impromptu 2002, 85 x 90 cm. Oil on canvas
The mirror symbolizing a reflection of both physical appearance and cultural influences. It highlights the impact of Western beauty standards on Thai perceptions, blending traditional Thai aesthetics with Western ideals in shaping self-perception and beauty aspirations.
Courtesans 2002, 85 x 120 cm. Oil on canvas
Opposite page: Feast 2003, 130 x 15 cm. Oil on canvas
Charade 2003, 50 x 40 cm. Oil on canvas
The Mistress 2003, 60 x 50 cm. Oil on canvas
Overture 2003, 89 x 115 cm. Oil on canvas
Secret Love 2004, 85 x 120 cm. Oil on canvas
Passion Play 2003,
Oasis 2003, 100 x 80 cm. Oil on canvas
Opposite page:
The Leer 2003, 120 x 85 cm. Oil on canvas
Lizzy Dizzy 2003, 90 x 60 cm. Oil on canvas
Insatiable 2003, 80 x 60 cm. Oil on canvas
Le Principesse 2003, 100 x 80 cm. Acrylic on canvas
Raphsody in Blue 2004, 85 x 70 cm. Oil on canvas
Paramour 2003, 50 x 60 cm. Oil on canvas
Study sketches
My Poetic Description
“Within the canvas’s embrace, a tale unfolds,
Five figures in a dance, a story to be told. Lounging, a cellist weaves melodies so sweet, By the piano, a woman’s gaze in distant retreat. In the throes of ecstasy, another finds delight, Caressed by a satyr’s touch in the dance of the night.
Heart-shaped bubbles rise, smoke in a silent spree, “Dans La Chambre” weaves a tale, a visual symphony.
Four women in this chamber, where dreams cascade, A painted reverie, in hues of stories made.”
The “Dans La Chambre” painting later evolved into my iconic design La Boheme, for porcelain and speaker covers.
Dans Le Chambre 2003, 130 x 150 cm. Oil on canvas
Finale 2003, 90 x 115 cm. Oil on canvas
Alliance 2003, 80 x 100 cm. Oil on canvas
The Favourites 2003, 70 x 85 cm. Oil on canvas
Fortune 2004, 89 x 60 cm. Oil on canvas
Festival 2004, 85 x 155 cm. Oil on canvas
Tete a tete 2004, 85 x 155 cm. Oil on canvas
Ingenuous II 2004, 40 x 50 cm. Oil on canvas
Bijoux 2004, 70 x 85 cm. Oil on canvas
Orient 2004, 70 x 85 cm. Oil on canvas
Summer Palace, 2004
60 x 90 cm. Oil on canvas
Tientsin 2004, 85 x 70 cm. Oil on canvas
Farewell 2004, 40 x 50 cm. Oil on canvas
Forbidden Farewell 2004, 170 x 70 cm. Oil on canvas
Opposite page:
Bliss 2004, 190 x 200 cm. Oil on canvas
Macau 2004, 130 x 90 cm. Oil on canvas
page clockwise:
Opposite
Manchu 2004, 80 x 100 cm. Oil on canvas
Feast 2004, 50 x 60 cm. Oil on canvas
YingYang 2004, 110 x 120 cm. Oil on canvas
Zephyr 2004, 80 x 80 cm. Oil on canvas
Shanghai 2004, 85 x 70 cm. Oil on canvas
Taboo 2004, 130 x 80 cm. Oil on canvas
The Dream 2004, 75 x 150 cm. Oil on canvas
Mandolins 2004, 130 x 185 cm. Oil on canvas
Ready for an exhibition
Seduced 2005, 110 x 120 cm. Oil on canvas
The intrigue lies in the enigma concealed behind the mask of the unknown.
Melancholy 2005, 85 x 120 cm. Oil on canvas
Tranquility 2005, 100 x 120 cm. Oil on canvas
Opus 2005, 80 x 100 cm. Oil on canvas
Emerald 2005, 80 x 80 cm. Oil on canvas
Opposite page: Venus 2005, 95 x 75 cm. Oil on canvas
Previous page:
AfternoonTea 2005, 85 x 155 cm. Oil on canvas
Siren 2006, 130 x 180 cm. Oil on canvas
Cynosure was inspired by an evening out in Bangkok, dining with friends to celebrate a birthday. The night was filled with vibrant energy, especially when a friend playfully sang ‘Happy Birthday, Mr. President’ in a Marilyn Monroe style, finishing with a cheeky lick of cream from her fingers.
Cynosure 2006, 190 x 200 cm. Oil on canvas
Rhapsody 2006, 120 x 110 cm. Oil on canvas
Temptress 2006, 195 x 125 cm. Oil on canvas
Papagena 2006, 85 x 155 cm. Oil on canvas
Charm 2006, 85 x 155 cm. Oil on canvas
Euphoria 2006, 200 x 190 cm. Oil on canvas
Bouillabaise 2006, 120 x 110 cm. Oil on canvas
“Our masks compose a seductive symphony, entwining with music’s rhythm to orchestrate a joy de vivre that echoes within the soul.”
At Work
Facing a blank canvas can be daunting, yet it holds boundless potential. To overcome the vastness, I begin with a rough acrylic outline and free washes, embracing the uncertainty. Working on large canvases, this approach visually makes the expansive canvas more manageable. Stepping back periodically is crucial; close proximity may deceive proportions. Viewing from a distance, my imagination takes flight, unveiling new visions and possibilities. I embrace change fearlessly, understanding that altering a work mid-process can deepen its strength and meaning. This bold approach, even when a piece seems finished, ensures my satisfaction and honesty with each creation. It’s not just about selling; it’s about taking pride in work that stands confidently, free from the need for apologies or unfinished sentiments.
People describe my work as powerful, not the kind that blends into the background above a sofa. Painting, for me, is a solitary endeavor, a means of expressing inner emotions. It’s about capturing a specific mood through colors and brushstrokes, reflecting the exact state of mind during the creative process. The solitude of this craft allows for a genuine portrayal of emotions that might evolve differently on another day.
Living in Southeast Asia for the past 40 years, the intense sunlight casts strong shadows, influencing the surroundings. This phenomenon translates into my paintings, giving them distinct outlines. Ultimately, the character, personality, and temperament of the artist play a significant role, making each piece a unique reflection of the individual behind the brush.
I used to sketch ideas in a book and later transfer them onto canvas, but I discovered that something was often lost in the process of copying my own work. Artists have their unique gestural strokes, much like a signature, and these nuances are lost in replication.
By working directly on the canvas, new ideas emerge organically during the process. Starting without a sketch allows for spontaneity, and I might discover entirely new concepts that wouldn’t have occurred with a preconceived plan.
The outcome of a piece is always uncertain. While I may have an initial idea, the result is consistently different. It’s an exhilarating journey with unexpected twists. Despite the polished appearance in the end, the path to get there is a wild and free exploration, involving many layers of paint to capture the soul of the painting before delving into the flesh of the work with thicker strokes.
A painter’s life can be solitary, emphasizing the need to balance family life with studio endeavors. I find my creative rhythm aligns best toward the day’s end, often saving challenging works for that time. Balance in shape and color holds significance, and I work with multiple layers to achieve the depth I seek.
While I don’t mind sketching outside my studio, painting away from it lacks the energetic ambiance I cherish. The unpredictability of a work’s outcome is part of its allure. I consider a piece complete when the passion diminishes, and it no longer beckons me. Once finished, I resist reworking.
Interestingly, an unfinished work might capture greatness in its early stage, prompting a desire to enhance my skill in creating finished works with an unfinished aesthetic. Inspiration for me transcends the literal, often residing on a metaphoric and spiritual plane, making painting a deeply enriching experience.
Ardour 2007, 140 x 195 cm. Oil on canvas
Foxy 2007, 80 x 100 cm. Oil on canvas
Pipe Dream 2007, 70 x 85 cm. Oil on canvas
Gazelle 2007, 55 x 45 cm. Oil on canvas
Opposite page: Silk 2005, 80 x 80 cm. Oil on canvas
Chic 2005, 85 x 120 cm. Oil on canvas
Artists often experience melancholy, a fertile ground for generating ideas. It may not be easily understood by those around, creating a solitary situation. While I draw energy from acceptance, my work isn’t driven by others’ approval; the most crucial validation comes from within myself.
Opposite page: Allure 2007, 110 x 120 cm. Oil on canvas
Opera 2007, 50 x 60 cm. Oil on canvas
Fig 2007, 60 x 50 cm. Oil on canvas
Casino 2007, 50 x 60 cm. Oil on canvas
HAMMERSHØI WOULD BE SHOCKED TO OBSERVE THEM
From a Danish news paper, 2007
Elizabeth Romhild is Danish, yet she exudes a cosmo politan aura. Her paintings are highly distinctive and easily recognizable, featuring a movement of nuances on the palette rather than chaos. A colorful abandon in her art stretches towards lavish costumes and erotic allure, sometimes transcending into the fantastical or mythical. Café life is described with refreshing humor, and the aesthetic in the costumes resembles a circus, creating a staged universe.
In a large painting titled “Succumb,” a man ap proaches with winged erotic overtures. A blood red pil low, shaped like a red pout, supports his loin. The char acter seems to have plucked a branch of angel feathers, held as a therapeutic gesture, representing the whimsi cal part of the painting.
Elizabeth Romhild’s paintings boast a chapter of their own when it comes to colors. There is no calming gray pause in the color palette. Different contrasts create rhetorical dynamics. One can sense a lot about the art ist’s colorful expression, seemingly wanting to outshine everything else in the living room.
From a technical standpoint, Elizabeth Romhild ex hibits great skill. There are musical swings in the lines, especially evident in dance scenes. Certain parts of the motifs are painted almost pointillistically with small differently colored splatters. Other parts form the back ground in clean, horizontal lines. Rarely does one see a light color, but when it’s red, it’s red like an evening sky, and when it’s blue, it’s blue like a night sky.
The pictorial appearance of the characters is some what reminiscent of the cubist style but without sharp corners. Elizabeth Romhild’s paintings are truly some thing to marvel at. The vivid color explosions in the artwork are accentuated by the broad black wooden frames, setting them apart from the white walls. Ham mershøi would be shocked to observe them.
Succumb 2006, 145 x 180 cm. Oil on canvas
Savannah I (Diptych) 2006, 85 x 70 cm. Oil on canvas
Alert 2008, 130 x 150 cm. Oil on canvas
Echoes of Africa
While exploring Kenya, the enchanting allure of the Savannah, its wildlife, and the captivating Masai culture left an indelible impression on my artistic soul. The untamed animals in the raw landscape, juxtaposed with the tender moments in the wilderness, sparked inspiration.
“The Circle of Life,” a sculpture born from the harsh realities of Savannah existence, narrates the ongoing cycle amid the skeletal remains of a buffalo.
“Elizabeth was profoundly affected and inspired by a trip to Kenya, which pushed her to re-examine the process and technical methodology of her previous creative output, when she returned to her Bangkok studio. The result has been a remarkable transformation and a new level of maturity for the artist. Employing a more muted and restrained palette, Elizabeth’s subjects, whether human or animal, share the same emotional earnestness. Gone are the elaborately staged narratives of earlier artworks, instead her focus is tuned upon the power of the individual. With Africa considered the cradle of civilisation, Elizabeth treats her characters with humility, exacting an archaic sense of their proud lineage.”
Steven Pettifor
Author of Flavours – Thai Contemporary Art
Dawn I (Diptych) 2007, 85 x 155 + 70 cm. Oil on canvas
Freedom 2008, 70 x 85 cm. Oil on canvas
Circle of Life. Bronze 2008
Dawn II (Diptych) 2007, 80 x 80 + 80 cm. Oil on canvas
Savannah II (Diptych) 2007, 70+70 x 85 cm. Oil on canvas
Savannah III (Diptych) 2007, 78+78 x 80 cm. Oil on canvas
Mothers love, 2012, 98 x 134 cm. Oil on wood
Savannah Lust, 2008, 145 x 70 cm. Oil on canvas
Kikuyo 2008, 85 x 120 cm. Oil on canvas
Opposite page:
Last Gaze II 2008, 80 x 80 cm. Oil on canvas
Dawn III (Triptych) 2007, 95 x 70+70+70 cm. Oil on canvas
Gaze 2008, 110 x 120 cm. Oil on canvas
Opposite page: Love Bite 2008, 190 x 200 cm. Oil on canvas
Pensive 2008, 120 cm diam. Oil on wood
Enigma I 2008, 120 cm diam. Oil on wood
Wonder 2008, 123 x 44 cm. Oil on wood
Fire Dance I 2008, 70 x 95 cm. Oil on canvas
Enigma II 2008, 44 x 51 cm. Oil on wood
Abundant 2008, 51 x 31 cm. Oil on wood
Opposite page: Fertility 2008, 140 x 70 cm. Oil on canvas
Transformation 2008, 140 x 70 cm. Oil on canvas
Studio Moods
Kikuyo in clay on wood board 2009, 42 x 60 cm
Warrior
Drawn from my journey to Kenya, the painting titled “Warrior” encapsulates the spirit of a warrior. Employing a circular expression reminiscent of Yin and Yang, it symbolizes the balance within our untold stories. Through my strokes and vibrant colors, I aim to encourage viewers to contemplate the duality within themselves, unveiling the warrior’s unfolding aims and echoing life’s rich tapestry of experiences.
Vigilant 2008, 85 x 120 cm. Oil on canvas
Beast was brought to life on a grand 2 x 2-meter canvas, employing layers of oil paints and oil sticks. Getting hands-on, I used my own hands to scratch and mold the artwork, infusing it with a fierce, primal essence. The result is a dynamic representation of the raw energy that fueled the creative journey.
Beast 2008, 190 x 200 cm. Oil on canvas
While a tiger isn’t encountered in the Kenyan Savanna, I felt compelled to depict one following my paintings of a leopard and a lion.
Dawn IV 2007, 85 x 120 +70 cm. Oil on canvas
Dignity. Bronze 2008, 65 cm heigh
“Personally, I have a deep appreciation for all of Elizabeth’s bronze sculptures. The ‘figures’ exude authenticity, sensitivity, and life, with the Masai Portrait standing out as a remarkable expression through her eyes.
To my surprise, I learned that this marks her initial foray into working with bronze. Despite this, she has skillfully woven grace and finesse into her art, giving the impression of a seasoned artist with a decade of experience.
Even though she had never wielded a blowtorch before, she handled it with the proficiency of a true veteran. I admire Elizabeth not just as an artist, but as someone who maintains a consistently positive outlook and emotions.
In conclusion, I eagerly anticipate more of Elizabeth’s work for all of us to enjoy. I hold firm in my belief that she will achieve great success in this endeavor. Best of luck, Elizabeth!”
From Thawan Muangchang Owner of Asia Fine Art Foundry, Thailand
Sculpture Fever
Sculpting with clay has been a delightful tactile experience for me as a painter. Using both hands to create threedimensional forms feels intensely engaging, involving all my senses. I’ve been told that my approach to sculpting resembles that of a painter, perhaps in the way I experiment with effects and texturing. Sculpting, though challenging, is a very sensual process, akin to an intimate dance with the clay – truly captivating.
The EROS collection gradually ventured into bronze sculpturing, integrating into my painting approach, making the paintings almost sculptural.
Sunset 2009, 80 x 100 cm. Oil on canvas
Succubus
A succubus is a mythical creature often depicted as a seductive female demon, that tempts and allures men into temptation.
“In my painting, I have tried to capture her cloaked in the mischief of her smile. The succubus subtly hints at red devil horns beneath her tousled black hair, adding a playful and devilish charm to her captivating mystery.”
Previous page clockwise:
Rhytm 2010, 90 x 78 cm. Oil on canvas
Dancing Legs H 25 cm. Bronze
White Satin 2010, 120 x 110 cm. Oil on canvas
Zen 2009, 80 x 80 cm. Oil on canvas
Red Dress 2009, 120 x 85 cm. Oil on canvas
Illumine 2010, 80 x 100 cm. Oil on canvas
Apres 2010, 95 x 78 cm. Oil on canvas
Dancing Legs. Bronze closeup
Succubus 2010, 150 x 200 cm. Oil on canvas
Study
Incubus
“An incubus is a mythical male demon. In the artwork ‘Incubus’, I portray the allure of two encounters by blending dark tones, crafting a divine ambiance. This evokes a mysterious dreamscape, where the enigmatic malevolent entity intertwines with dreams.”
Incubus 2009, 110 X 120 cm. Oil on canvas
Frost 2010, 76 x 98 cm. Oil on canvas
Equilibrium 2010, 170 x 170 cm. Oil on canvas
Eros 2010, 200 x 210 cm. Oil on canvas
Moan 2010, 85 x 160 cm. Oil on canvas
From “EROS” to “As Eye Am”
“Life serves as my muse, nurturing my inner child”. Captivated by the interplay of bodies, with arms and legs shaping almost phallic sculptural forms, I found myself drawn deeper into the exploration of human anatomy and its profound connection to both physical and metaphorical expression.
The EROS collection gradually ventured into bronze sculpturing, integrating into my painting approach, making the paintings almost sculptural. Unfolding as a deeply personal journey of self-discovery, intertwining my own experiences, this journey signifies a profound exploration originating from the core of existence, where darkness merges with the pulse of life.
Within the turbulent landscape of EROS paintings, as I delve into the ‘dark side’, the Face series begins to take form, bringing me back to the concept of ‘surface.’ It emerges in both literal and symbolic ways, revealing layers of complexity within appearances and deeper truths.
The ‘As Eye Am’ collection challenges conventional beauty norms, inviting us to delve into the intricate language communicated through the human gaze – a language that surpasses mere words.
The series also invites you to connect with your innermost reflections, fostering a profound resonance between the viewer and the emotive essence encapsulated within the art.
A distinguishing feature of this collection is its introspective nature, where the focus shifts inward. Whether the eyes are wide open in contemplation or closed in the tranquility of meditation, they transcend mere individuality. In this introspective gaze, the eyes become mirrors, reflecting not just my interpretation but also allowing observers to encounter their own souls in the nuanced emotions portrayed.
Through scratching effects with my palette knife, I transcend conventional beauty standards, delving into the profound depths of existence itself, offering a poignant portrayal of what it truly means to live.
Makiage 2010, 70 x 140 cm. Oil on canvas
According to Leo Tolstoy:
“Art cannot be defined as an activity which produces beauty. Beauty cannot be defined objectively; and therefore cannot be used as a criterion to define what is, or is not, art. The aim of art is not merely to produce beauty, or to provide pleasure, enjoyment, or entertainment. Art is a means of communication, and is an important means of expression of any experience, or of any aspect of the human condition.”
Tranquil 2010, 130 x 150 cm. Oil on canvas
Celebrate 2010, 85 x 120 cm. Oil on canvas
Nirvana 2010, 85 x 155 cm. Oil on canvas
Elizabeth in studio 2010
Abella 2011, 100 x 120 cm. Oil on canvas
page: Jade 1012, 190 x 200 cm. Oil on canvas
Self 2010, 80 x 80 cm. Oil on canvas
Cybele 2012, 78 x 90 cm. Oil on canvas
Dazzle 2010, 50 x 60 cm. Oil on canvas
Blues 2012, 78 x 90 cm. Oil on canvas
Ruby 2012, 80 x 80 cm. Oil on canvas
Untold Stories 2011, 130 x 110 cm. Oil on canvas
Kalynda 2012, 85 x 120 cm. Oil on canvas Kyra 2011, 80 x 100 cm. Oil on canvas
Aiko 2011, 40 x 55 cm. Oil on canvas
Hanoi 2010, 80 x 100 cm. Oil on canvas
Elizabeth in studio 2012
Imena 2012, 80 x 100 cm. Oil on canvas
Zina 2012, 80 x 100 cm. Oil on canvas
Oposit page: Eye Catching 2012, 130 x 150 cm. Oil on canvas
Khloe 2011, 45 x 55 cm. Oil on canvas
Seek 2010, 85 x 100 cm. Oil on canvas
2012, 100 x 120 10 cm. Oil on canvas (Opposite page mirrored)
Working on design projects
From Painting to Tableware
Drawing inspiration from the fluidity of doodles, I channel my creativity into crafting unique designs that enchant and captivate. The allure of food, with its enticing flavors and textures, ignited my journey into designing tableware that celebrates its sensuality. Dining transcends mere sustenance – it’s a symphony of sensations where every element contributes to the experience. By adorning plates with intricate designs, I transform them into luxurious canvases, elevating the act of dining into an art form. My tableware isn’t just decorative; it’s versatile, effortlessly adapting to any occasion, whether it’s an intimate dinner for two or a grand banquet. Each piece not only embodies my artistic expression, but also reflects the unique style and personality of its owner. So, let your table become a storyteller – a narrative of elegance, romance, and indulgence. With every meal, create moments of magic that linger long after the last bite.
Descriptive Prose by Me
“A deep cosmic blue, reminiscent of the vast expanse of the universe, envelopes the scene. Musical notes dance gracefully, forming intricate patterns that seem to pulse with life. Five stylized, alluring figures with arms outstretched, their silhouettes filled with an array of vibrant colors, represent the diversity of emotions and experiences encapsulated in music.”
The golden thread of my creativity weaves through various lifestyle creations, evolving from delicate porcelain designs to pieces inspired by music. Crafting speaker covers for Bang & Olufsen by Skiniplay and sculpting fine jewelry with the Artinian brothers from Artinian Fine Jewelry broadens my artistic horizons, merging art and design harmoniously. Each piece showcases depth and versatility, leaving a lasting mark. Now, as I transform my art into stunning mosaics for interior spaces, I find my only limit is imagination.
Design Potpuri
Mosaic potpourri, from Bangkok, to Copenhagen, to Panama.
In Bangkok, every corner reveals a new architectural gem, from the sleek skyscrapers to the intricate designs of centuries-old temples. Having witnessed the city’s transformation since 1988, I’ve marveled at how its skyline has evolved in harmony with its rich cultural heritage. Each building tells a story, contributing to the tapestry of Bangkok’s urban landscape. And with each mosaic piece representing a unique aspect of the city’s spirit, the artwork truly captures the essence of Bangkok’s vibrant energy and hidden charms.
Meanwhile back in studio
“Ultimate Supper” studies
“Ultimate Supper” process 2015‑18
Displayed at P. Tendercool Gallery, Bangkok
Ultimate Supper, 2018, 160 x 320 cm. Oil on canvas
Ultimate Supper
What hangs on your wall reveals more about you than you realize. Life’s complexities are depicted in a scene where a figure, disguised as a serpent, embodies temptation. This serpent whispers to a gazelle tempted by the forbidden fruit, symbolizing the choice between knowledge and innocence.
Another figure, a woman, uses her allure to draw a man into desire, offering him a cherry as a symbol of forbidden pleasure. This scene reflects the eternal struggle between virtue and vice, truth and deceit, as the human heart battles between redemption and sin.
Casanova 2018, 120 x 85 cm. Oil on canvas
Yellow boots 2022, 79 x 90 cm. Oil on canvas
Lockdown Blues
“The Blue Room,” painted during the COVID-19 lockdown, captures the profound solitude and longing that defined an era when the unknown became the new normal. I sought to express the universal yearning for social connection amidst the isolation enforced by the pandemic. Within this piece, I imbued tunes of a requiem for loved ones, a haunting melody symbolizing our collective grief and the candle of loss that continues to burn.
I chose hues of blue to symbolize the pervasive sadness and melancholy of the time. Each brushstroke reflects the anxiety and uncertainty that permeated daily life, with shadows suggesting the lingering presence of loved ones now absent. Through a glass window, I depicted figures standing apart, physically distanced but emotionally intertwined, yearning to bridge the gap that the virus had imposed.
This artwork poignantly captures the essence of social distancing – the heartache of seeing loved ones through a pane of glass, close yet unreachable. The blue tones evoke a sense of quiet despair and enduring hope for reunion, while the glow of the candle represents the lasting memory of those lost. “The Blue Room” serves as my reminder of a time, when we grappled with isolation, loss, and an unyielding desire for human connection.
The Blue Room 2020, 97 x 140 cm. Oil on canvas
Feast 110 x 215 cm. Oil on canvas
Cappuccino Dream 2020, 210 x 200 cm. Oil on canvas
Top left: Pleasure 2018, 60 x 50 cm. Oil on canvas
Elizabeth in studio
Top right: Moonlight Sonata 50 x 60 cm. Oil on canvas
Double Bubble 2018, 80 x 100 cm. Oil on canvas
Love 2017, 80 x 100 cm. Oil on canvas
“The Party” illustrates the world’s need for a more human approach, new attitudes, and fresh perspectives, even within a black and white palette. The monochromatic scheme highlights the contrast between old and new, symbolizing the choices needed to navigate modern complexities. Each element, from figure positioning to light and shadow, encourages reflection on empathy and innovation. Despite the limited colors, the piece conveys the richness of human experience. Notably, one figure’s red lip stands out, symbolizing individuality and the spark of change, urging a move towards inclusivity and understanding.
The Party 2018, 170 x 170 cm. Acrylic on canvas
Inspired by my grandmothers story and drawing (1994)
“Her
hair is as black as a raven. Eyes like stars. Lips like two cherries and a neck like a swan”.
My story inspired by my grandmother:
Neck like a swan, lips like cherries. Her delicate wings encounter the mysterious black raven, drawn together by an enigmatic force.
My grandmothers drawing and story (1911)
Above: Whispering wings (2024). Digital pen on ipad
Opposite page: Enchanted Lovebirds (2024). Digital pen on ipad
The late Karekin Dickran from Armenia wrote this text in 2008
Tree of Life
Outrageous vibrant colors? Exotic dynamic forms? Yes and no! A woman’s untraditional romance with life itself? Yes! – yet yearning to tame the Noble Savage within the framework of Royal Serenity which is inherent within Elizabeth Romhild’s soul, spirit applied on paintings.
It is hard to say how much Elizabeth has succeeded in finding a balance, but it is obvious that she cannot be defined by the simple titles of Colorist or Impressionist alone. Her ultimate quest is to combine her admiration for that sublime harmony which only music can express with the untamed or primitive wild splendor that color offers. As a true artist she constructs a world where the impossible is made possible! Well aware that her central issues such as primal senses cannot be defined by a framed canvas, her humble motherly instinct to share, insists that she must try.
The questioning of life’s allegories through vibrant light, escaping strokes of pointillism on lusty forms, and blues retreating into the transparent twilight, emphasize exotic mysteries and life’s ambivalence, to the eye of the beholder. Through her pictures Elizabeth Romhild paints mysterious music in the heart of the observer.
Behold a woman artist sincerely searching for her path to “Eden’s Garden”! Each step resonant with a longing to paint the Tree of Life in colored atom by colored atom. The quintessence of Elizabeth Romhild’s art stays with the observer and is more than that which is expressed by acrylic or oil. Her vision escapes beyond the framed picture hanging on a wall. Where will her quest take her and us? We shall see in her future artworks.
Karekin Dickran Art Director
Elizabeth with Private Dancer 2021
Circle Completed
Having traversed various themes in my artwork, the circle has finally completed its graceful arc. Each brushstroke, sculpture, mosaic piece, and lifestyle design aspect, meticulously crafted, and every color palette carefully selected, has contributed to this holistic journey of self‑expression. From bold strokes of passion to delicate hues of introspection, each concept explored has added depth and richness to the narrative woven by my creativity. Now, standing at the culmination of this artistic odyssey, I find solace and fulfillment in completing this intricate circle, a testament to dedication and artistic growth. Yet, as one chapter closes, another eagerly awaits, beckoning me to embark on new adventures inspired by past experiences and revelations. With renewed vigor and boundless imagination, I step forward, ready to explore uncharted territories and embrace the endless possibilities ahead.
Thank you for joining me on this artistic odyssey. I hope you enjoyed the journey.
“Petit Four” Ink mixed media