Jessie Coles

Breakfast Room, 2018. Acrylic on canvas, 60 x 42″ Sold

The Open Door, 2018. Acrylic on canvas, 42 x 60″ Sold

Red Chair and Pomegranates, 2017. Acrylic on canvas, 42 x 36” Sold

Compote and Plates of Fruit, 2018. Acrylic on canvas, 36 x 42″ Sold

Cabbage and Cups, 2017. Acrylic on canvas, 36 x 42”

White Eggplant, 2017. Acrylic on canvas, 42 x 36″ Sold

Watermelon, 2017. Acrylic on canvas, 30 x 40” Sold

Blue Creamer Echo, 2016. Acrylic on panel, 18 x 24” Sold

Bananas #9, 2017. Charcoal and acrylic on panel, 16 x 20″

Blue Pitcher and Celery, 2016. Acrylic on board, 18 x 24″

Brown Beer Bottle, 2017. Acrylic on panel, 16 x 12”

Coffee Pitcher, 2016. Charcoal on panel, 18 x 24”

Five Apples, 2016. Acrylic on panel, 24 x 18” Sold

Blue and Yellow, 2016. Charcoal on panel, 18 x 24”

Long Butternut, 2017. Acrylic on panel, 18 x 24″

Peaches and Bananas, 2017. Acrylic on panel, 24 x 18″

Red Glass Bowls, 2017. Acrylic on canvas, 24 x 18″

Sweet Pea, 2016. Acrylic on board, 14 x 11″ Sold

Disappearing Chair, 2017. Acrylic on board, 30 x 40″ Sold

Summer Light
15 July – 21 August 2016
Exhibition page >

LYDM Turns 20 in 2015
9 January – 1 February 2015
Exhibition page >

New Views in Still Life and Landscape
Jessie Coles and Susan Mcalister
16 May – 15 June 2014
Exhibition page >é_June-2017.pdf” title=”Jessie Coles Resumé_June 2017

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.