In the scenic backdrop of the Hudson Valley mountains, a gathering of Caucasian women, clad in nothing but white lace underwear or bare from the waist up, is depicted amid the lush forest setting. Engaged in the delicate task of weaving white spider silk into intricate lace pieces for each other, they evoke a sense of mystique and intrigue. Emily Coan’s solo exhibition at Dimin Gallery in New York, titled Spider Silk, captivates viewers with a series of enigmatic scenes. Her paintings conjure parallels with the archetypal imagery of witches often portrayed in modern cinema and television. [1] However, far from clichéd representations, her work invites a deeper exploration into the intersection of mysticism and contemporary American art.
Emily Coan, Gathering Webs for Spider Silk, 2024, Oil on linen, 60 x 80 in, 152.4 x 203.2 cm. Photo courtesy of DIMIN.
Coan, originally from Florida, pursued her artistic education at the University of Florida, initially focusing on sculpture before transitioning to oil painting. Her background in sculpture proved instrumental in honing her skills in spatial composition and capturing the human form within the confines of two-dimensional artwork.
From an early age, Coan demonstrated a profound intuition, often offering sage advice to family and friends, earning her the descriptor of having an “old soul” from her parents. Coan developed a strong interest in astrology during her childhood, influenced by her mother, who had worked as a bookkeeper for an astrologer. Viewing belief systems as sources of spiritual empowerment, Coan finds that they imbue life with confidence, security, positive meanings, and purpose, whether derived from religion or personal mystical experiences. Over the years, she has delved deeply into the intricacies of Western astrology, using it not only as a guiding force in her daily life but also to inform her artistic endeavors.
Producing the series Spider Silk serves as a prime example. Choosing to convene a group of friends in the mountains of the Hudson Valley during the summer solstice, when energy is believed to be at its peak, she orchestrated a ceremony and photoshoot. The location, near Coan’s home, holds a special significance for her, as she senses its energy every time she returns.
For Coan, mysticism embodies not only a connection with the earth but also a profound connection with the feminine. Her artworks, reminiscent of scenes from witches’ covens, are not merely aesthetic creations but also reflections of her own identity as a modern witch. In contemporary media, the image of the witch has been reclaimed to empower women, a narrative Coan aligns with. While she doesn’t practice magic in the traditional sense, Coan regards her artistic process as her own form of magic. Before commencing a painting, she engages in a small ritual, which includes a 20-minute meditation session, enabling her to enter a state of flow where she can create these mysterious and enigmatic works.
An intriguing aspect of Coan’s paintings is the consistent portrayal of women, often depicted collectively as a group. In her early self-portraits, the image of herself is multiplied through mirrors, while her latest works feature gatherings of women engaged in various activities or ceremonies. In her self-portraits, it seems that Coan seeks to establish her identity through mirrors, possibly referencing the gaze of the Other, which in the framework of psychoanalysis represents societal norms and expectations, often associated with the male perspective.
The depiction of gatherings of witches in her recent works suggests a departure from this individualistic focus and carries deeper cultural connotations, particularly within the context of American society. Reflecting on her upbringing in the United States, Coan shared in our interview her disillusionment with the prevalent ethos of individualism and competitiveness, particularly evident during the teenage years when girls are often pitted against each other, fostering a sense of hostility and rivalry. Coan rejects this toxic culture, yearning instead for a communal existence where mutual support, assistance, and care are prioritized. For Coan, the image of women living, experiencing, working, and playing freely together in the forest symbolizes her vision of an ideal future—a departure from the competitive norms of society towards a more nurturing and cooperative community.
Emily Coan, The Spring, 2024, Oil on linen, 70 x 56 in, 177.8 x 142.2 cm. Photo courtesy of DIMIN.
The presence of nudity and white lace underwear in the Spider Silk series may initially suggest a theme of sexuality, yet Coan offers a deeper interpretation. In interviews, she explains that rather than focusing on sexuality, her works explore a sense of hyper-sensuality—a feeling of uninhibited pleasure derived from a close connection with nature, the mother earth. This pleasure transcends sexual connotations, which is why her paintings notably lack any male figures. Reflecting on her experiences in her twenties, where she often felt objectified by men when expressing her sexual energy, [2] Coan has shifted her focus towards nature as a means of seeking an alternative expression of female sensuality and pleasure. By immersing herself in the natural world and mysticism, Coan’s paintings evoke a narrative of female pleasure independent of male influence. If male figures were to appear in Coan’s works, they would regrettably risk being reduced to mere sex objects within patriarchal society. Such inclusion would overshadow the nuanced discussions surrounding competitive culture, female sexual energy, alternative pleasure, connection to nature, and the significance of mysticism that the artworks seek to address.
In recent decades, witches have been prominent figures in various cultural works in the United States, including television shows such as Buffy the Vampire Slayer (1997), Charmed (1998), and Chilling Adventures of Sabrina (2018), as well as the Scarlet Witch character in Marvel Comics. These narratives, featuring women as central characters, are dedicated to empowering women and subverting traditional stereotypes. Coan’s creations are undoubtedly influenced by such cultural depictions and resonate with the ancient mystical heritage of Europe. However, what sets her work apart is its profound reflection of contemporary American life, addressing issues such as neoliberalism, individualism, competitiveness, and the challenges faced by women in a patriarchal society. In doing so, Coan’s art serves as a poignant commentary on the complexities of ethnicity and culture, highlighting the pivotal role of mysticism in contemporary American art. –[SCR]
[1] https://www.dimin.nyc/exhibitions/15-emily-coan-spider-silk/press_release_text/
* The articles in this editorial feature selected artists and curators interviewed by Taiwanese curator and researcher Feng-Yi Chu during his curatorial residency at ISCP in New York. His residency program, “Applications of Mysticism in Modern and Contemporary American Arts,” is sponsored by the Ministry of Culture, Taiwan.
Header Image: Emily Coan, New Moon, Late Spring – Flaxen, 2022, oil on linen, 24×30 in. Photo courtesy of Monya Rowe Gallery.
