"Romaine is a realist who enjoys thick paint and solid geometry,” says John T Spike, international art critic for Art & Antiques Magazine, in his 2006 “Closer Look” at Romaine’s painting, “Lion Park Surround”. “This glimpse of Western storefronts is as carefully composed as Hopper’s ‘Early Sunday Morning’, which in turn is a Mondrian in bricks and mortar. Achieving these effects requires reflection...Seventy years after Hopper, the buildings are the same, yet the plot has changed. To Hopper’s habitual question, ‘Isn’t this sad?’ Romaine seems to respond: This is how it is.”
Romaine began her professional career in 2000 and has enjoyed considerable success since then with her work in numerous private and corporate collections and at the Gibbes Museum. She has been a member of Oil Painters of America since 2001 and was invited to be Artist in Residence by the Gibbes Museum, Charleston, SC, for the year 2003/2004. "Cornices of Charleston", a book of her paintings and the photography of Jack Alterman was published in 2005. Romaine is represented by galleries in Delray Beach, FL and Santa Fe, New Mexico.
An image that intrigues me enough to paint it is rarely symbolic of mere beauty. I must sense a depth to it at first blush. I suppose that's why I tend toward those moments when the early morning or late afternoon light falls on manmade structures, objects or on men and women within that context. There is a mystical quality to those times of day when light reaches into darkness or casts long shadows that requires exploration. There seems to be a particular honesty to structures or people at these times, a vulnerability that reveals who they are or what they may be about. Night scenes, the time when we are most vulnerable and valiantly illuminate our environment against darkness, also evoke this need to explore what I have observed.
Quite frequently as I paint an image, I begin to see multiple levels of symbolism that I hadn't noticed in that first blush as I passed by. I learn something more about the space or people I have observed and get a far deeper sense of the human presence that occupied time and space with their surroundings. It is this studio-bound journey of discovery, those "ah ha" moments, that keeps that brush of mine moving across the canvas.