Every eggplant, bowl of soup, and pitcher of lemonade simultaneously struts its stuff and plays well with its neighbors, writes critic David Pagel.
If selfies have become the most popular form of portraiture, why not start thinking of still-lifes as stillies?
Each of Coulis’ paintings looks even better in the flesh, its symmetry-skewing composition hitting just the right balance between harmony and happenstance. Nothing feels fussed over. Nor left to chance. That’s because there are no lines in Coulis’ paintings. She never uses her paintbrush as a pencil. Instead, she paints big blocks of color over bigger blocks of color, leaving slivers of the previously painted blocks visible — like a slip peeking out from beneath a skirt.
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