Walked Over - by Sally de Courcy (Britain)
Sculpture, 425 cm x 425 cm x 15 cm, materials : Jesmonite, Plaster, and Vermiculite.
Sally de Courcy's practice uses the casting process to make many repetitions of objects. These objects, which relate metaphorically or literally, are hidden within an abstract arrangement. As the viewer recognizes the contextual links between the objects, a narrative is revealed.
After working in a refugee camp she is interested in human rights and much of her work stands for those who are dehumanized as a result of atrocities that occur in war and terrorism. History, like her work, repeats itself and the philosophical reasons for this repetition of violence have been a major part of her research and this extends her focus on repetition.
Judith Butler’s books 'Precarious Lives' and 'Frames of War' and the concept that some people are treated as less than human or “walked over” by others has, together with Sally's own past experience, inspired her recent series of work.
She has used modern bodily objects, such as bones, sex toys, weapons and children’s toys. These are used metaphorically to represent different aspects of war atrocities (as in the UN and UK House of Lord's definitions).
Her work Walked Over uses a storage container - a deliberate reference to a modern container for objects - to cast a floor of fabricated breezeblocks containing different objects that are buried and excavated. The floor references a forensic or archaeological dig and is arranged as a grid representing control and systems and referencing the often hidden violent control to suppress the “other” in society. The grid resembles a flag symbolising territory, ironic when considering the current refugee crisis. A floor is an architectural space, often hidden and overlooked, but by making it interactive with the viewer, they are uncomfortably forced to confront the buried objects and their contextual connections.
Sally de Courcy's practice uses the casting process to make many repetitions of objects. These objects, which relate metaphorically or literally, are hidden within an abstract arrangement. As the viewer recognizes the contextual links between the objects, a narrative is revealed.
After working in a refugee camp she is interested in human rights and much of her work stands for those who are dehumanized as a result of atrocities that occur in war and terrorism. History, like her work, repeats itself and the philosophical reasons for this repetition of violence have been a major part of her research and this extends her focus on repetition.
Judith Butler’s books 'Precarious Lives' and 'Frames of War' and the concept that some people are treated as less than human or “walked over” by others has, together with Sally's own past experience, inspired her recent series of work.
She has used modern bodily objects, such as bones, sex toys, weapons and children’s toys. These are used metaphorically to represent different aspects of war atrocities (as in the UN and UK House of Lord's definitions).
Her work Walked Over uses a storage container - a deliberate reference to a modern container for objects - to cast a floor of fabricated breezeblocks containing different objects that are buried and excavated. The floor references a forensic or archaeological dig and is arranged as a grid representing control and systems and referencing the often hidden violent control to suppress the “other” in society. The grid resembles a flag symbolising territory, ironic when considering the current refugee crisis. A floor is an architectural space, often hidden and overlooked, but by making it interactive with the viewer, they are uncomfortably forced to confront the buried objects and their contextual connections.
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Walked Over - by Sally de Courcy (Britain)
Sculpture, 425 cm x 425 cm x 15 cm, materials : Jesmonite, Plaster, and Vermiculite.
Sally de Courcy's practice uses the casting process to make many repetitions of objects. These objects, which relate metaphorically or literally, are hidden within an abstract arrangement. As the viewer recognizes the contextual links between the objects, a narrative is revealed.
After working in a refugee camp she is interested in human rights and much of her work stands for those who are dehumanized as a result of atrocities that occur in war and terrorism. History, like her work, repeats itself and the philosophical reasons for this repetition of violence have been a major part of her research and this extends her focus on repetition.
Judith Butler’s books 'Precarious Lives' and 'Frames of War' and the concept that some people are treated as less than human or “walked over” by others has, together with Sally's own past experience, inspired her recent series of work.
She has used modern bodily objects, such as bones, sex toys, weapons and children’s toys. These are used metaphorically to represent different aspects of war atrocities (as in the UN and UK House of Lord's definitions).
Her work Walked Over uses a storage container - a deliberate reference to a modern container for objects - to cast a floor of fabricated breezeblocks containing different objects that are buried and excavated. The floor references a forensic or archaeological dig and is arranged as a grid representing control and systems and referencing the often hidden violent control to suppress the “other” in society. The grid resembles a flag symbolising territory, ironic when considering the current refugee crisis. A floor is an architectural space, often hidden and overlooked, but by making it interactive with the viewer, they are uncomfortably forced to confront the buried objects and their contextual connections.
Sally de Courcy's practice uses the casting process to make many repetitions of objects. These objects, which relate metaphorically or literally, are hidden within an abstract arrangement. As the viewer recognizes the contextual links between the objects, a narrative is revealed.
After working in a refugee camp she is interested in human rights and much of her work stands for those who are dehumanized as a result of atrocities that occur in war and terrorism. History, like her work, repeats itself and the philosophical reasons for this repetition of violence have been a major part of her research and this extends her focus on repetition.
Judith Butler’s books 'Precarious Lives' and 'Frames of War' and the concept that some people are treated as less than human or “walked over” by others has, together with Sally's own past experience, inspired her recent series of work.
She has used modern bodily objects, such as bones, sex toys, weapons and children’s toys. These are used metaphorically to represent different aspects of war atrocities (as in the UN and UK House of Lord's definitions).
Her work Walked Over uses a storage container - a deliberate reference to a modern container for objects - to cast a floor of fabricated breezeblocks containing different objects that are buried and excavated. The floor references a forensic or archaeological dig and is arranged as a grid representing control and systems and referencing the often hidden violent control to suppress the “other” in society. The grid resembles a flag symbolising territory, ironic when considering the current refugee crisis. A floor is an architectural space, often hidden and overlooked, but by making it interactive with the viewer, they are uncomfortably forced to confront the buried objects and their contextual connections.
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Main Gallery
Walked Over - by Sally de Courcy (Britain)
Sculpture, 425 cm x 425 cm x 15 cm, materials : Jesmonite, Plaster, and Vermiculite.
Sally de Courcy's practice uses the casting process to make many repetitions of objects. These objects, which relate metaphorically or literally, are hidden within an abstract arrangement. As the viewer recognizes the contextual links between the objects, a narrative is revealed.
After working in a refugee camp she is interested in human rights and much of her work stands for those who are dehumanized as a result of atrocities that occur in war and terrorism. History, like her work, repeats itself and the philosophical reasons for this repetition of violence have been a major part of her research and this extends her focus on repetition.
Judith Butler’s books 'Precarious Lives' and 'Frames of War' and the concept that some people are treated as less than human or “walked over” by others has, together with Sally's own past experience, inspired her recent series of work.
She has used modern bodily objects, such as bones, sex toys, weapons and children’s toys. These are used metaphorically to represent different aspects of war atrocities (as in the UN and UK House of Lord's definitions).
Her work Walked Over uses a storage container - a deliberate reference to a modern container for objects - to cast a floor of fabricated breezeblocks containing different objects that are buried and excavated. The floor references a forensic or archaeological dig and is arranged as a grid representing control and systems and referencing the often hidden violent control to suppress the “other” in society. The grid resembles a flag symbolising territory, ironic when considering the current refugee crisis. A floor is an architectural space, often hidden and overlooked, but by making it interactive with the viewer, they are uncomfortably forced to confront the buried objects and their contextual connections.
Sally de Courcy's practice uses the casting process to make many repetitions of objects. These objects, which relate metaphorically or literally, are hidden within an abstract arrangement. As the viewer recognizes the contextual links between the objects, a narrative is revealed.
After working in a refugee camp she is interested in human rights and much of her work stands for those who are dehumanized as a result of atrocities that occur in war and terrorism. History, like her work, repeats itself and the philosophical reasons for this repetition of violence have been a major part of her research and this extends her focus on repetition.
Judith Butler’s books 'Precarious Lives' and 'Frames of War' and the concept that some people are treated as less than human or “walked over” by others has, together with Sally's own past experience, inspired her recent series of work.
She has used modern bodily objects, such as bones, sex toys, weapons and children’s toys. These are used metaphorically to represent different aspects of war atrocities (as in the UN and UK House of Lord's definitions).
Her work Walked Over uses a storage container - a deliberate reference to a modern container for objects - to cast a floor of fabricated breezeblocks containing different objects that are buried and excavated. The floor references a forensic or archaeological dig and is arranged as a grid representing control and systems and referencing the often hidden violent control to suppress the “other” in society. The grid resembles a flag symbolising territory, ironic when considering the current refugee crisis. A floor is an architectural space, often hidden and overlooked, but by making it interactive with the viewer, they are uncomfortably forced to confront the buried objects and their contextual connections.
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