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Court denies councilman’s petition to reverse Milton ethics panel ruling By AMBER PERRY amber@appenmedia.com
the texture and color are reminiscent of a fungal network. It’s also embellished with gemstones, flowers and even some scabs of saguaro cactus nests. “We have to sort of re-entangle ourselves into the environment,” Stingle said. Stingle’s work is women-centric, as she tends to tell her own story. She paints dots on her sculptures’ lips, a signature, as a reminder to stay true to herself. They often feature pronounced, teased, Regency-era hair — another story-telling platform, additional space
MILTON, Ga. — After a monthslong court battle, the Fulton County Superior Court May 18 denied Milton City Councilman Paul Moore’s petition that sought to reverse an ethics panel decision from August. The panel, composed of three attorneys, determined that Moore had violated three of the city’s ethics codes when he voted to defer an item related to White Columns, the neighborhood in which he resides. The council discussion pertained to reimbursing part of the costs for traffic calming devices installed by the White Columns Community Association. Moore’s petition also sought reimbursement for attorney fees spent during the panel investigation from Tony Palazzo, the Community Association's president. Palazzo had filed the ethics complaint. The court found that Moore’s petition, filed in November, failed to meet time requirements because it had not been filed within a 30day time frame following the ethics panel’s final order Aug. 30. Moore’s attorney, Doug Chalmers, said he “respectfully disagrees” with the court’s decision and plans to
See SCULPTOR, Page 6
See RULING, Page 10
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Kirsten Stingle describes a new sculpture, not yet titled. In September, Stingle’s work will be featured in a Paris exhibition.
Milton sculptor invites viewers through her story By AMBER PERRY amber@appenmedia.com MILTON, Ga. — Bouncing from place to place across her basement studio, narrative sculptor Kirsten Stingle provided insight into reimagined worlds. The studio is covered in armoires, storing more than just underglaze. Working in ceramics, but also fiber and found objects, Stingle is attracted to the stories she can tell. She hand-builds each piece, without using a cast, and layers them with detail, asking viewers to take their time. The latest collection concerns
mythology, the stories that reflect a more patriarchal culture. Stingle takes figures who have been “ossified” – rigid or fixed – and “weaponized,” like Medusa, and reincorporates them into the natural world. After describing the mythical figure, who had been raped by Poisedon and punished by Athena, Stingle said, “You’re looking at weaponization of sex, weaponization of power, weaponization of her.” A new piece, not yet titled, is a bust of a woman hanging on Stingle’s studio wall. The woman’s hair, in thick strands, swirls around like snakes, but