Jessie Coles

  • Selected Works

    Jessie Coles. Onions, 2013.
    Acrylic on canvas, 36 x 30″.

    Jessie Coles, Hubbard and Onions, 2014.
    Oil on Canvas, 25 x 30″

    Jessie Coles, Aubergine, 2013.
    Acrylic on canvas, 30 x 36″

    Jessie Coles, White Coffee Pot II, 2014.
    Oil on canvas, diptych, 36 x 30″ each, 36 x 60″.

    Jessie Coles, Plums and Lipton Box, 2014.
    Oil on canvas, 36 x 30″.

    Jessie Coles, Bananas and Cherry Tomato, 2014.
    Oil on canvas, 20 x 16″.

    Jessie Coles, Red Cabbage and Pattypan, 2014.
    Acrylic on canvas, 36 x 30″.

    Jessie Coles. Short Green Table with Lipton, 2013.
    Oil on linen, 36 x 30″.

    Jessi Coles, Dark Teapot and Blue Cups, 2014.
    Oil on canvas, 18 x 16″.

    Jessie Coles. Yellow Apples, 2013.
    Acrylic on canvas, 30 x 36″.

    Jessie Coles. Dark Teapot and Yellow Curtains, 2014.
    Oil on canvas, 20 x 16″.


    Jessie Coles. Two Shells, 2013.
    Oil on canvas, 18 x 24″.


    Jessie Coles. Tea Pots and Stripes, 2013.
    Acrylic on Canvas, 20 x 24″.


    Jessie Coles. Squash, 2013.
    Acrylic on Canvas, 24 x 18″.


    Jessie Coles. Shitake and Acorn Squash, 2013.
    Oil on canvas, 14 x 11″.

  • Past Exhibitions

    Jessie Coles and Susan Mcalister
    New Views in Still Life and Landscape
    16 May – 15 June 2014

    Exhibition page >

  • Biography

    Jessie Coles graduated from the University of Virginia with a BA in Studio Art in 1986. She continued her studies at the Corcoran School of Art in Washington D.C. and through advanced painting and printmaking courses at Piedmont Virginia Community College.  Her work has been juried into many prestigious exhibitions and is in many private and public collections including the Martha Jefferson Hospital and the University of Virginia Medical Center.

    Artist Statement

    Energy and movement are the real subject of my still life paintings.  In setting up a still life, I look for an initial gestural path connecting the objects in the painting.  Over repeated painting sessions, new and unexpected paths emerge.  The constant rethinking of what connections to emphasize and which to let recede puts a tension into play.  Things grow, shrink and get shifted right and left and the residue of these changes add unexpected rhythms to the paintings.  Similarly, over time the interaction of color appears to change in timbre.  As these changes are documented, unexpected colors knock against each other creating an energy and excitement I never could have predicted.  The resulting paintings are more expressive than accurate, less about a moment glimpsed than about a duration of time and a multiplicity of observations.