Alison Stinely Painting in the Garden of Eden

Alison Stinely, Ribe Meat, 2015

Alison Stinely, Rib Meat, Oil on panel, polyurethane foam. expoxy resin, lates enamel, 61 x 78 x 24, 2015

Having recently emerged from graduate school, Alison Stinely is a young artist who’s dishing out one beautiful, outrageous oil painting after another. I’ve enjoyed Rib Meat, a gorgeous painting of the birth of Eve that has hung for the last month in the JCC faculty show at the Weeks Gallery. Steeped as deeply in the work of the old masters as she is engaged with contemporary painting, Stinely renders the face of her larger than life Eve in bold strokes of luminous blue under-painting and blood red, pink, and purple tones. And though Stinely situates her nude in the Garden of Eden at the beginning of time, she relishes the opportunity to render in sensuous, painterly strokes the unmistakably contemporary cut of her model’s hair. Stinely’s Eve is beautiful, confident, and muscular. Like one of Michelangelo’s sibyls or his David, Stinely’s Eve bears her nudity without shame as she gazes off to the side expectantly; ready for the challenges her fateful life will bring.

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The classical beauty embodied in Eve’s face is countered by the disturbing context in which the artist has placed her. Shown at the moment that she is born, Eve is coming out of Adam’s ribs. Fully grown, her head, shoulders and breasts emerge from, that is, slide upward and out of, the bloody ribcage of an enormous carcass. Is this Adam’s ribcage? This is not entirely clear, as Stinely caps the radically foreshortened spine of the skeletal remains with the grotesque plastic head of a donkey ensconced in a wreath of cheap plastic foliage. Because we tend to have limited engagement with animals today, most viewers aren’t sure if this head belongs to a horse, cow, deer or donkey, but this doesn’t stop them from musing about the symbolic meaning of the decapitated animal’s head. Does is signify animal sacrifice, men as donkeys, humans coming from animals, or the carnage that came to mankind when Eve entered the world? When I asked Stinely about the donkey’s head, her response reminded me that she is more than comfortable with controversy and that she was raised reading the Bible. “In the Bible, donkeys are untouchable, inedible. Today, it’s slang for a woman’s ass.”

Nocturnal Emissions, is another painting Stinely sets in the Garden of Eden. This one pictures Lilith, Adam’s first wife according to Jewish folklore and other texts.

Alison Stinely, Nocturnal Emissions, Oil on panel, expoxy resin, latex Enamel, 55 by 78 x 18 inches, 2015

Alison Stinely, Nocturnal Emissions, Oil on panel, expoxy resin, latex Enamel, 55 by 78 x 18 inches, 2015

The legendary character Lilith differs from Eve in that she was born at the same time as Adam, from the same stuff as Adam, and was not subservient to Adam. She left the Garden of Eden of her own accord and went on to appear as a powerful, dangerous, and sometimes demonic temptress written into loads of legends and literature. Known as the lusty demon haunting men’s dreams and responsible for nocturnal emissions, Lilith’s face is magnificently rendered here as the liquid smear of a wet dream.

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Alison Stinely lives in Erie, Pennsylania. She studied at the Cleveland Institute of Art and received a BFA from Edinboro University of Pennsylvania. In 2013 she received an MFA from Indiana University in Bloomington IN. She lives in Erie PA and teaches at a number of area colleges and universities including Jamestown Community College and Edinboro University.

Leeds Artist David Cotton Working in Western New York

I met David Cotton, an artist from Leeds, last summer when he was a resident artist on campus at Jamestown Community College (JCC) where he was working in the new biotechnology labs. At that time he was painting bacteria on the sterile media surface of petrie dishes and playing with microscopes equipped with cameras. The college lab techs showed Cotton how to genetically modify E. coli bacteria with jellyfish DNA so that they ‘glowed’ under UV light. He then grew cultures of the bacteria and photographed them under various conditions. Cotton shot over a thousand digital photographs, or “bacteriographs,” over about nine days. For this first series of creative lab experiments, Cotton brought a painter’s sensibility to the lab materials. With a fine horsehair brush he drew abstract designs on the surface of growth medium and exploited the florescent palette of the lab.

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Why was Cotton in rural Western New York? He and other members of the SCIBase collective had traveled to Jamestown to participate in Colinized, an exhibition presented in two local galleries: The 3rd on 3rd Gallery  and the Dykeman-Young Gallery (April 4-May 15, 2014).  SCIBase is a collaborative project between BasementArtsProject, Leeds and the SCI collective based in the Northwest of England, which includes members from Leeds, Merseyside, Sheffield, the Midlands, Sweden and the USA.  Deb Eck, a British artist who lives and works in Jamestown, organized Colonized and arranged short community-based residencies, like Cotton’s, for most of the British and Swedish artists who traveled to Jamestown to participate in the exhibition. It was wonderful to meet so many international artists during my first summer in Western New York and it was entirely unexpected!

Cotton recently returned to Jamestown during the spring of 2015 for Colliding Worlds, another exhibition organized by Eck, which mixed science, medicine and art. For this exhibition Cotton showed a set of C-prints that related to his JCC lab work but which differed from it in interesting ways. Cotton purchased his own microscope and shot images of slides that he either prepared himself with readily available materials like seaweed, cabbage or the skin of a blueberry, or purchased through eBay. Cotton’s second series of microscope photographs differ significantly from the first, in that they read more like ready mades. Although Cotton has gone to the trouble of crafting each circular image from a series of square format digital files, each image in this series reads as a ready made of sorts. Each is a kind of matter-of-fact found object, be that an antique slide purchased from eBay with a funny title like “rad irridis” or “pimento,” or a bit of fruit or veg grabbed from the fridge. Shown together this series of eighteen 12 inch square C-prints hung horizontally across the gallery wall was lush and beautiful. Each photograph a gem on its own. As a series, the luminous orbs read as planetary spheres documenting newly discovered worlds. Embodying as they do both a micro and macro perspective, as well as both abstract and ready-made aesthetic sensibility, Cotton’s new series are hard to forget. In fact, I absolutely loved them.

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