British artist Stella Vine was born in Alnwick, Northumberland, in 1969.


Exhibitions include:

The Fridge Gallery

Jeffrey Charles Gallery

Transition Gallery

Saatchi Gallery

Alon Segev Gallery

Roberts & Tilton Gallery

Hamiltons Gallery

This Way Up Gallery

Lido Projects

Dragon Bar

Bailiffgate Museum

Modern Art Oxford

Cornell University

MIMA

Kent University

Riflemaker

Subliminal Projects

Indiana University Museum

Cecil Sharp House

Latitude Festival

The Roundhouse

Discerning Eye

Cob Gallery

Blacks

Kingsgate Project Space

Maddox Gallery

Collections incude:

The Bailiffgate Museum

Middlesbrough Institute of Modern Art

Norwich Castle Museum

Indiana University Art Museum

Sidney & Lois Eskenazi Museum of Art

Goss Michael Foundation

Discerning Eye

Kent University

David Roberts Collection


Some press quotes:

‘There’s a vitality and truth in her work that can’t be faked.’
Richard Dorment – The Telegraph

‘She paints like a frog and should not give up the night job.’
Brian Sewell – Evening Standard

‘I think she’s the real deal.’
Lynn Barber – The Observer

‘Her colours are a cake-maker’s – girlie pinks, Alice-band blues – and the way she writes on her pictures learnt from a bakery… but there’s something there nevertheless: a combination of empathy and cynicism that can be startling.’
Waldemar Januszczac – The Sunday Times

‘She is clearly extremely intelligent, and educated too, though late in life and unconventionally.’
Hermione Eyre – The Independent

‘She’s bang on the money.’
Richard Dorment – The Telegraph

‘I think she will come to be known as one of the most important artists of our time.’
Andrew Nairne – Modern Art Oxford

‘Stella Vine is direct and honest, rather like her paintings.’
Simon Kelner – GQ

‘Though Stella Vine remains viscerally connected to the facts of her life, she is not her own hero. Her art is not a performance.’
Germaine Greer – Modern Art Oxford

‘Sure enough, just as pioneering women writers had to exorcise the victim-demon as they appropriated traditional male literary genres, so a prime, inevitable topic in the visual arts today is woman as victim. This is marked among the swathe of female artists at the current Venice Biennale, from Tracey Emin to Sophie Calle. It is also there in the violent images of the female body by hard hitters (and big sellers) Marlene Dumas and Jenny Savile, and it lurks behind the girly curlicues of fashionable painters such as Karen Kilimnik or Elizabeth Peyton. But queen of victim-artists is surely Stella Vine.’
Jackie Wullschlager – The Financial Times

‘Look at her Kate Moss, for instance. The spaces between her cutely imperfect teeth are crammed with darkness. Her smile is as taut as a sneer. The babydoll palette of Vine’s pictures turns acid. The colours are souring. The mascara runs with tears. The dreams are curdling into the ghastly self-confessional parodies of the reality. The highly polished Vogue aesthetic is turning into the trashy Heat snap. We can’t dismiss these paintings as a mere racket – not in a world in which the racket has become the real thing.’
Rachel Campbell-Johnston – The Times

‘Jean Harlowe lounges on top of an orange tiger skin rug across a sea of electric blue paint, her face a carnival mask with sharp teeth, blood-red lips and clumpy mascara guarding her startled blue eyes like barbed wire. These and other grotesqueries find their mirror in the tiger’s blue glass orbs, exaggeratedly arched eyebrows and hastily rendered fur. The painting has nothing at all to do with Jean Harlowe and everything to do with Vine’s apparent aversion to either mixing colors on the palette, or leaving any paint in the tube. Her affection for celebrities, combined with the brazenly unacademic ambitions of her figurative style, triggers comparison to her contemporary Elizabeth Peyton. Vine is far less sophisticated, but that is precisely the point. The artlessness Peyton strives for as a conceptual frame work, Vine achieves without even trying, and her emerging voice does not seek to overcome her outsider status. Rather, her research is really appealing due to the awkward and utterly unselfconscious enthusiasm with which she proceeds.’
Shana Nys Dambrot – Tema Celeste

‘The quality that critics use to undermine the credibility of Vine’s art – that it is adolescent- is actually the source of its indisputable emotional impact. Without question, her art is adolescent – in the same way that Holden Caulfield’s observations about a world filled with phonies, and Kurt Cobain’s acid outrage over adult lies and injustice, and Sylvia Plath’s over-heated anger and bitterness at the world’s betrayals were adolescent. At first Vine’s art appears clumsy, but look longer and it is less careless than bitterly honest.’
Anna Finel Honigman – The Saatchi Gallery


Publications include:

‘Stella Vine – Paintings’
Germaine Greer
Fuel/Modern Art Oxford, 2007.
ISBN: 9781901352344