Arden's Gallery , Houston, Texas
Breckenridge Gallery, Breckenridge, CO
Bill Hester Fine Art, Santa Fe, NM
Madelyn Jordan Fine Art, Scarsdale, NY
Page + Waterman Gallery, Wellesley, MA
Renjeau Gallery, Natick MA
Saks Galleries, Denver
Coopers and Lybrand
Ritz Hotel, Denver
Four Seasons Hotel, Denver
St. Anthony's Hospital, Denver
National Dairy Board
Grubb and Ellis, Denver
Holland America Cruise Line
Stanford Cancer Center, Palo Alto
Tufts New England Medical Center
Denver Hospice, CO
Mayo Clinic, Rochester, Minnesota
Massachusetts General Hospital, Boston
Gaylord Rockies Resort & Conference
Center Aurora, CO
Vail Mountain Club, Vail, CO
Yampa Valley Medical Ctr, Steamboat Springs, CO
Vectra Bank, CO
The David and Lucile Packard Foundation
Glenmoor Country Club, Denver
St. John’s Mercy Medical Center,
Creve Coeur, MO
Rose Medical Center, Parker, CO
Spectrum Health Butterworth
Hospital, Grand Rapids, MI
Magnet Bank, Atlanta
Ford, Harrison Law, Atlanta
Lowry Medical Center, Denver
Town and Country Hospital, Houston
Jones and Keller, Denver
Birch Hill Investment Advisors, Boston
Avista Hospital, CO
Interviews and Articles
Fine Art Connoisseur Magazine Thrill, An Artist's Perspective on Painting Landscapes, April 2020
Denver Life Magazine, March 2019
Artists on Art, May - June 2017
Southwest Art Magazine Show Preview Total Arts Gallery, Taos, NM, May 2015
By Gussie Fauntleroy
"I want to pass on this very nice magazine piece for May 2012. Thank you SW Art Magazine and writer Gussie Fauntleroy for really 'getting it.'
Q&A Black Tie Colorado interview with Ken Elliott, January 2008
Ken Elliott Artist’s Statement
“From an early age, I’ve been fortunate to have seen remarkably good works of art and met some of the best painters in the field.
My friendships with Wolf Kahn and Forrest Moses along with Wolf’s master classes have been invaluable.
The paintings I create are rarely portraits of places but rather, they are investigations into color and composition. My goal is to create something more remarkable and outside the familiar scene. To do that, many ideas and moves are used to alter nature in exaggerated, but somehow believable ways.
If successful, what emerges is art that is expressive, apart from the everyday and filled with life and joyfully, II never tire of chasing that goal.
Gussie Fauntleroy in a review for Southwest Art Magazine:
There is paradox in Ken Elliott’s landscapes: They pulse with powerful color, and yet collectors speak of his paintings as exuding a sense of calm. They contain choreographed rhythm and order, even within the seeming disorder of winter trees along a creek. “I’m trying to give the paintings muscle, poetry, power, and gentleness. I’m screaming—but in a civilized way,” the artist jokes.
Ken’s involvement in the art business has now spanned over 40 years. He began as a picture framer in Houston, then worked alongside an art restorer, became an art dealer, and about 30 years ago, began to draw and paint. He has worked in a variety of media over the years and is now working primarily in oil and pastel. His artworks are in thousands of collections including large commissioned works in prestigious private and public collections.
He is a colorist foremost, and is attracted to the landscape with its rich store of ideas and inspiration.
“I am compelled to work from the trees, skies, lakes and streams in their endless variations. I don’t try to recreate nature (even Monet said he never got it right) or attempt storytelling. Instead, the works are simplifications and exaggerations of nature. There was a time when I felt the tyranny of the landscape. That is, I felt limited by making pictures of a place. Now, instead of attempting representations of a scene, I am free to make paintings that are far more reliant on the strategies of making fine art.
Fortunately, I’ve learned that what some would call mistakes are part of the creative process. So, I try to begin boldly, not worrying about missteps and exaggerating nature. During the process, I allow my vision and the inevitable ‘flaws’ to become a part of the emerging image. Some will be eliminated and the more delicious ones are incorporated into the painting as unintended surprises.
Painting is not a linear, start to finish process for me. I typically have a number of paintings and pastels in progress in the studio. I welcome interruptions and they become part of the process. If the phone rings, I’ll turn my back to the easel to look at other paintings or gaze out the window. Sometimes the very solution I’m seeking is found that way. All the paintings and different views feed each other, offering solutions and more problems. Those paintings that make it out the door have come to a good but sometimes torturous conclusion.
In my works, all of nature is altered, perfected and abstracted. When I run out of variations to an idea, I’ll go back to nature where all the inspirations and colors for a lifetime are always waiting.”