Frames of War : Wall Frieze Installation - by Sally de Courcy (Britain)
Frieze Installation. Materials : Plaster, Vermiculite and MDF. Consists of 6 pieces, each piece 56 cm x 40 cm x 15 cm.
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).
'Frames of War' is a modern take on an “ancient freeze” inspired by the Parthenon galleries at the British Museum in London. The Parthenon in Athens, Greece was built at a time of economical, political and artistic prowess. The Friezes seemed to represent ancient reportage of slavery of the overpowered and the glorification of war, not dissimilar to that occurring in our newspapers today.
The background frame was cast from the lid of a storage box, a deliberate reference to a modern container for objects. The ironic modern and human objects were piled onto the frame haphazardly, referencing the horrific piles of objects seen at the gas chambers during the Holocaust and also the chaos of bones found in mass graves.
The objects convey meaning both metaphorically and in combination. For example, Teddy Bears were used as they are left at the site where a child has met a violent end and the combination of Teddy Bears and weapons convey the exploitation of children in war. Broken castings were deliberately used to appear ancient and archaeological.
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).
'Frames of War' is a modern take on an “ancient freeze” inspired by the Parthenon galleries at the British Museum in London. The Parthenon in Athens, Greece was built at a time of economical, political and artistic prowess. The Friezes seemed to represent ancient reportage of slavery of the overpowered and the glorification of war, not dissimilar to that occurring in our newspapers today.
The background frame was cast from the lid of a storage box, a deliberate reference to a modern container for objects. The ironic modern and human objects were piled onto the frame haphazardly, referencing the horrific piles of objects seen at the gas chambers during the Holocaust and also the chaos of bones found in mass graves.
The objects convey meaning both metaphorically and in combination. For example, Teddy Bears were used as they are left at the site where a child has met a violent end and the combination of Teddy Bears and weapons convey the exploitation of children in war. Broken castings were deliberately used to appear ancient and archaeological.
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Frames of War : Wall Frieze Installation - by Sally de Courcy (Britain)
Frieze Installation. Materials : Plaster, Vermiculite and MDF. Consists of 6 pieces, each piece 56 cm x 40 cm x 15 cm.
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).
'Frames of War' is a modern take on an “ancient freeze” inspired by the Parthenon galleries at the British Museum in London. The Parthenon in Athens, Greece was built at a time of economical, political and artistic prowess. The Friezes seemed to represent ancient reportage of slavery of the overpowered and the glorification of war, not dissimilar to that occurring in our newspapers today.
The background frame was cast from the lid of a storage box, a deliberate reference to a modern container for objects. The ironic modern and human objects were piled onto the frame haphazardly, referencing the horrific piles of objects seen at the gas chambers during the Holocaust and also the chaos of bones found in mass graves.
The objects convey meaning both metaphorically and in combination. For example, Teddy Bears were used as they are left at the site where a child has met a violent end and the combination of Teddy Bears and weapons convey the exploitation of children in war. Broken castings were deliberately used to appear ancient and archaeological.
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).
'Frames of War' is a modern take on an “ancient freeze” inspired by the Parthenon galleries at the British Museum in London. The Parthenon in Athens, Greece was built at a time of economical, political and artistic prowess. The Friezes seemed to represent ancient reportage of slavery of the overpowered and the glorification of war, not dissimilar to that occurring in our newspapers today.
The background frame was cast from the lid of a storage box, a deliberate reference to a modern container for objects. The ironic modern and human objects were piled onto the frame haphazardly, referencing the horrific piles of objects seen at the gas chambers during the Holocaust and also the chaos of bones found in mass graves.
The objects convey meaning both metaphorically and in combination. For example, Teddy Bears were used as they are left at the site where a child has met a violent end and the combination of Teddy Bears and weapons convey the exploitation of children in war. Broken castings were deliberately used to appear ancient and archaeological.
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Main Gallery
Frames of War : Wall Frieze Installation - by Sally de Courcy (Britain)
Frieze Installation. Materials : Plaster, Vermiculite and MDF. Consists of 6 pieces, each piece 56 cm x 40 cm x 15 cm.
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).
'Frames of War' is a modern take on an “ancient freeze” inspired by the Parthenon galleries at the British Museum in London. The Parthenon in Athens, Greece was built at a time of economical, political and artistic prowess. The Friezes seemed to represent ancient reportage of slavery of the overpowered and the glorification of war, not dissimilar to that occurring in our newspapers today.
The background frame was cast from the lid of a storage box, a deliberate reference to a modern container for objects. The ironic modern and human objects were piled onto the frame haphazardly, referencing the horrific piles of objects seen at the gas chambers during the Holocaust and also the chaos of bones found in mass graves.
The objects convey meaning both metaphorically and in combination. For example, Teddy Bears were used as they are left at the site where a child has met a violent end and the combination of Teddy Bears and weapons convey the exploitation of children in war. Broken castings were deliberately used to appear ancient and archaeological.
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).
'Frames of War' is a modern take on an “ancient freeze” inspired by the Parthenon galleries at the British Museum in London. The Parthenon in Athens, Greece was built at a time of economical, political and artistic prowess. The Friezes seemed to represent ancient reportage of slavery of the overpowered and the glorification of war, not dissimilar to that occurring in our newspapers today.
The background frame was cast from the lid of a storage box, a deliberate reference to a modern container for objects. The ironic modern and human objects were piled onto the frame haphazardly, referencing the horrific piles of objects seen at the gas chambers during the Holocaust and also the chaos of bones found in mass graves.
The objects convey meaning both metaphorically and in combination. For example, Teddy Bears were used as they are left at the site where a child has met a violent end and the combination of Teddy Bears and weapons convey the exploitation of children in war. Broken castings were deliberately used to appear ancient and archaeological.
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