Adam and Eve - Sally Gilchrist, C. 1990 - Set of 2

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Adam and Eve
Sally Gilchrist, c. 1990

The paired works Adam and Eve by Sally Gilchrist are as layered in … Read more Adam and Eve
Sally Gilchrist, c. 1990

The paired works Adam and Eve by Sally Gilchrist are as layered in their messaging as they are in their physical construction. Each piece is a multimedia object, with an oil-painted canvas affixed to a wooden board and framed in steel. This method of fabrication immediately pushes the works beyond conventional painting. They are not simply images of a biblical subject; they are built objects, materially assertive and almost reliquary in their presence. The steel framing gives the works an industrial severity, while the painted imagery turns toward one of the most enduring natural and spiritual settings in Western visual culture: the Garden of Eden. That contrast is one of the most compelling aspects of the pairing. Gilchrist places the lush, symbolic world of Eden inside a structure shaped by human processing, craft, and intervention. In Adam and Eve, the signs of human meddling extend beyond the fruit from the Tree of Knowledge and into the very body of the artwork itself.

The construction also creates a layered visual experience. Each work appears to operate in two zones: an outer field of dense garden imagery and an inner, darker canvas-like window where the human hand becomes the dramatic focus. This framing-within-a-frame gives the works a theatrical quality. The garden surrounds the human action, but the action itself is isolated, almost staged on the wood board. Gilchrist does not show full bodies, faces, or an expansive landscape. Instead, she reduces the myth to gestures: a hand, a serpent, an apple. By narrowing the narrative to these fragments, she makes the biblical story feel less like distant scripture and more like a charged psychological moment.

In Adam, the hand grips the serpent against a darkened interior field. The surrounding foliage is vibrant and active, with leaves and branches pressing against the composition. The garden seems to encroach, surround, and witness. The serpent’s red and yellow body coils through the lower portion of the work, visually linking danger, temptation, and violence. The hand is pale, almost sculptural, and stands apart from the saturated greens and reds that surround it. This separation gives Adam’s action a symbolic weight. He is not merely in the garden; he is intervening in it.

An ephemeral remnant on the verso of Adam names the piece Night Garden, though it is unclear whether this refers to the individual work, the pairing, or an earlier auction designation. Even with that uncertainty, the phrase feels unexpectedly useful. These are not sunlit Eden scenes. Gilchrist’s garden is nocturnal, dense, and morally shadowed. The black central fields in both works create a sense of aftermath or withheld knowledge. They function almost like voids, spaces where the familiar biblical story is interrupted and retold.

The clearest narrative complication comes through the companion piece, Eve. In Eve, Gilchrist presents a hand holding an unbitten red apple. The apple is offered to the viewer as an object of possibility rather than evidence of sin. It has not yet been consumed, and its surface remains intact. In traditional Eden imagery, Eve is often shown as the figure who initiates the fall, tempted by the serpent and then extending temptation to Adam. Gilchrist’s version feels different. Eve’s hand is open and delicate, but not weak. She holds the apple with clarity, as though weighing choice itself. The fruit is no longer simply a symbol of guilt; it becomes a suspended decision.

The written context on Eve, stating that Adam has killed the snake, changes the entire emotional structure of the pairing. This is a striking departure from the biblical serpent’s punishment by God. In Gilchrist’s humanist retelling, Adam is given agency to punish the serpent himself. The act is not divine judgment but human action. This repositions the story away from obedience and punishment and toward responsibility, retaliation, and consequence. Adam does not simply fall prey to deception; he responds to it. The serpent is no longer an eternal manipulator but a mortal creature that can be destroyed.

This shift also changes how Eve is understood. Presented with a dead serpent and an unmarred apple, the viewer is left with an alternate Eden. If the deceiver has been removed before the apple is eaten, then the future of Adam and Eve is no longer fixed. The works open a speculative space: do they remain forever in the Garden, preserved from the fall, or does human curiosity eventually triumph even without the serpent’s persuasion? Gilchrist’s answer is not explicit, and that ambiguity is the strength of the pairing. She does not simply reverse the story; she destabilizes it.

The two works also operate as a meditation on blame. In the inherited story, Eve is often burdened with the symbolic weight of temptation, disobedience, and expulsion. Gilchrist complicates that inheritance by making Adam’s action central and consequential. He is not a passive recipient of Eve’s choice. He becomes the active figure who alters the myth. Meanwhile, Eve holds the apple without having consumed it. She is placed not at the moment of failure, but at the moment before history hardens into doctrine. This gives the work a subtle feminist charge without making it didactic. Eve is not absolved by being made innocent; rather, she is restored to complexity.

Visually, the pairing succeeds because Gilchrist balances decorative richness with symbolic tension. The garden imagery is lush, almost seductive, but the central black fields prevent the works from becoming merely ornamental. The steel frames and wood supports give the pieces a physical toughness that counters the sensuality of the leaves, fruit, and serpents. The result is a pair of works that feel both ancient and contemporary, mythic and handmade, sacred and industrial.

Together, Adam and Eve form a constructed retelling of one of the oldest stories of human choice. Gilchrist does not simply illustrate the Garden of Eden; she reopens it. By presenting the serpent as already killed and the apple as still untouched, she suspends the fall at the point where another outcome might still be possible. The works ask whether innocence is preserved by removing temptation, or whether the human desire to know is powerful enough to create its own exile. In either case, Gilchrist gives us a uniquely fabricated and conceptually rich pairing, one that turns a familiar story into an unresolved question.
-Jonathan Flike

About the Artist
Sally Gilchrist is an American artist whose work moves between painting, printmaking, drawing, and poetic narrative. Now based in White Salmon, Washington, in the Columbia River Gorge, Gilchrist has degrees in art and language and has exhibited her work from New York to Edinburgh, Scotland. Her practice is deeply influenced by natural history, travel, found forms in nature, and the quiet poetry of everyday objects. Earlier in her career, she was associated with Harris Gallery in Houston, a connection that reflects the broader exhibition history behind her work. In pieces such as Adam and Eve, Gilchrist brings together symbolic storytelling, natural imagery, and materially inventive construction to create works that feel both mythic and handmade.

Underrepresented Artist Information
As a woman artist working across painting, printmaking, and mixed media, Sally Gilchrist belongs to a broader history of artists whose practices have often received less market visibility than their male contemporaries. Her work reflects the kind of materially inventive, symbolically rich practice that is increasingly being reconsidered as collectors and institutions look more closely at underrepresented women artists. In Adam and Eve, Gilchrist’s retelling of an inherited biblical narrative feels especially resonant, using myth, nature, and construction to reframe questions of agency, blame, and human choice through a distinctly personal visual language. See less