FARCE PRIZE

Caitlyn Coupe, Farce Prize, 2010

My latest work ‘Farce Prize’ is a series of found object assemblages. The sculptural pieces comment on materialistic values evident within modern day society and how people use possessions to measure their success and self worth. Furthermore, ‘Farce Prize’ comments on the judgement of others that occurs through their possessions to determine one’s quality of life and success.

The assemblages have been created using objects that are purely ornamental, purposeless, and without function. Most of the objects are possessions that are more often than not seen in a display cabinet or on a mantelpiece much like a trophy. While all of the collected objects within the assemblage could be viewed individually as a symbol of prestige and wealth, it is the trophy formation that communicates the way in which people use these objects to portray wealth and success. In the desperate attempt for social acceptance/status, people adorn themselves as well as their houses to uphold this façade of a successful and wealthy life, which can apparently be measured by one’s objects.

Farce Prize, 2010, (Detail)

This work began from the interest of - and as an attempt to understand - materialistic values prominent within western culture. I have come to a conclusion that materialistic values are generally a trait that assists in self-reassurance as well as short-term happiness, ultimately diminishing quality of life. These trophies represent the objects people award themselves to prove ‘success’; farce prizes.

                          Farce Prize, 2010, (Detail)

    

    

    

    

                                                                    

FECKLESS PLACEBO

Feckless Placebo, 2010, 0.6m x 1.2m

The work 'Feckless Placebo' explores the issue of materialistic value and the impact it can have upon one's quality of life. The pursuit and possession of material objects is something that is evident within western culture as many strive to possess and prove themselves through what they own. While the desire for objects may seem harmless, materialistic inclination is an issue that is closely related to that of experiential avoidance. In the attempt  to avoid real life experience and negative situations, individuals turn to material possessions as an escape in the hope of obtaining short-term happiness. 'Feckless Placebo' puts objects into the context of drugs to communicate the way individuals use material objects like a drug in an effort to escape reality. 

Feckless Placebo,2010 (Detail)

SEMANTICS WON'T DO

 Caitlyn Coupe, Semantics Won't Do, Found Object Assemblage, 2010

Issues of place, culture, identity and history are all topics of which can be interpreted differently. The explanation and definition of ones identity is however, a matter of complete subjectivity. The question, ‘Who am I?’ is more often than not, something that most individuals are confronted by. A subject that is of great interest and entirely open to interpretation, became something I decided to further explore.
 

When engaging with the issue of identity I began to develop a concept, which was suggestive of how people in our contemporary society define themselves and their identity. However, as my concept continued to develop it became evident that I was instead exploring personal ideals and perceptions that consecutively form my own identity. Through challenging obstacles of process engagement and media choice, I have produced a resolved body of work that effectively communicates and relates to myself as an individual; ‘Semantics Won’t Do’.

The work ‘Semantics Won’t Do’ explores themes of identity and possession, reflecting on the way in which people tend to define themselves and their societal position purely on material possession. The sculpture uses multiple layers to juxtapose two ways in which a person defines themselves and their purpose. The use of found objects represents an identity defined by material possession and financial status versus the value of lived experience symbolised by the nest.
 

In relation to my personal identity, I have used this juxtaposition not only to reiterate what I believe to be important, but also to place emphasis on what I perceive to be irrelevant to who I am as an individual. The nest itself is symbolic of my personal values, priorities, and experience, all of which I feel contribute profoundly to my identity. My values and priorities are based upon the personal relationships I have with the people surrounding me. The nest explores themes of comfort, safety and protection, directly relating to the relationship between my mother and I and represents the permanent bond we share.
 

While the structure signifies importance, it has been constructed entirely from found objects, representative of material possession. The incorporation of found objects has been used to portray how important I consider objects to be. By creating an assemblage of only destroyed and dysfunctional objects into organised clutter, I am placing emphasis on the insignificance of object ownership.
 

Semantics Won't Do (Detail)

The title ‘Semantics Won’t Do’ makes reference to the dominant reading of the work in comparison to the intended meaning. While each object may be interpreted individually, it is the assemblage and the structure that these objects form which communicates the underlying concept. When viewing and analysing this work it makes a transition from synchronic to diachronic and as a consequence ‘Semantics Won’t Do’ is a narrative artwork.  In the same way, Louise Bourgeois’ work, ‘Spider’ is said to deploy a narrative based work by going beyond an anteriority narrative, militating against iconographic translation (Bal, 1999).            
 

‘Semantics Won’t Do’ additionally explores and combines two contrary values by employing visual metaphors which resist the other, while at the same time working together to convey an individual concept. It is a possibility that when taken out of context the found objects may communicate individual meaning. However, when identifying with the multiple layers operating within the work, my values and opinions become evident.
 

Much like the work ‘Lifespan’ by Claire Healey and Sean Cordeiro, the materials used to construct my artwork are not reminiscent of the structure built (Haly 2009). The different medium instead oppose one another by representing two opposing values (Haly 2009). In accordance with this, Healey and Cordeiro employ found objects within their artwork ‘Deceased Estate’ in order to create a sculptural assemblage, similar to the context and process explored within ‘Semantics Won’t Do’.

 

After reflecting on the visual representations within ‘Semantics Won’t Do’ it is apparent that they have been used, not only to suggest that some define themselves materialistically, but also to exemplify my rejection of this characteristic. Through process and conceptual development, the artwork has evolved and fits within the context of a narrative, found object assemblage/sculpture. Overall, through the exploration of identity as a whole, my personal perceptions, values and beliefs have very much defined the conceptual framework of this piece. 

REFERENCES:

Bal, B. (1999)     Narrative Inside Out: Louise Bourgeois’ Spider as Theoretical Object. Oxford University Press, 22(2),123. Retrieved from http://www.jstor.org/stable/1360637

Haly, J. (Art Student). (2009) Venice Bienalle [interview]. Sydney, Aus.: Venice Bienalle Education Team. http://www.bbc.co.uk/bbcfour/audiointerviews/profilepages/craggt2.shtml    

FRAGMENTS OF MY IMAGINATION

Caitlyn Coupe, Fragments of My Imagination, Chemography, 

0.5m x 1m, 2010

The images within this work started as an old photograph that was then drawn, photocopied and recreated on photographic paper by painting with chemicals; creating distorted and ghost-like faces. The process of this work becomes the concept as I attempt to recreate a memory of my passed father from just one photograph.  

SCENE FROM ABOVE

Caitlyn Coupe, Scene from Above, Photomontage, 2m x 1.5m, 2009

This work has been composed with photographs captured from above a walk bridge. 'Scene from Above’ is a response and documentation of the location depicted within the work.

OPPOSITION

Caitlyn Coupe, Opposition, Mirror Mosaic, 0.5m x 1m, 2009

 This piece is a response to my observation and perception of the human body. The mosaic face references the famous ‘Marquardt Beauty Mask’ and the belief that if one’s face fits this mask, they are perfectly beautiful. The piece challenges this belief, as the mask is created entirely from shattered mirror. When looking into the mosaic face the viewer’s reflection is distorted and unclear, directly commenting on the erroneous idea that one’s beauty can be determined by their ability to match a beauty mask.

FORM

             

 

            

Caitlyn Coupe, Form, Mixed Media 3 x 0.5m x 1m, 2006

The human body is the inspiration of the work 'Form' more specifically, the female body. Within this work female features are explored and fore grounded with charcoal and pressed rose petals. The female body is exposed and objectified further commenting on the way in which women are often depicted within society as an object of lust and desire.