Koener’s Westhampton atelier presents the visitor with an array of objects - ceramics, baskets, linens, paintings and sculptures. Only a shelf’s worth of big bottles of dry pigment divides her workspace from living quarters. The former teems with her works, as well as huge basketfuls of colored fabrics, colored papers, occult-evoking sculpture col-lections, books, music - much of this evidence of the wide range of her interest in indigenous cultures.

Roseline Koener’s work process tends to the spontaneous; her media - fabric and paper foremost among them - are arranged, layered, inserted, and glued together according to the dictates of color. Markings, dots, and lines then enrich her distinctively beautiful tonal field, bringing into play her highly-developed drawing sense and command of painting technique, until the fragments merge into the single new piece.

Koener’s colors - her blue, pink, yellow, and green blended with pink and green, purple and blue - make for strong visual poetry; vibrant and intense. She creates them by mixing dry pigment with egg white and an emulsifier, or, alternatively, the dry pigment with ink. The dots or freely drawn lines guide us beyond these exuberant colors into the colors within.

 Intellect plus depth of understanding, combined with force of impulse and spontaneity - all together constitute this artist’s distinctiveness. Her experiences both intellectual and emotional, her biography of courageous embracings and of castings-off, all these have been translated into her work, which guides and pulls us toward her.

To see the different beauty, to encounter the soul of the world, to discover the universal humanity, Roseline Koener travels frequently, in-between stints as educator and working artist. Her ultimate goal as artist is to evoke spirituality through the illuminating light of her colors. It should be no surprise that she counts Matisse and Rothko among the artists that enchant her most.