Pods explores the surreal . Placed in flooded sand pits in Horsell common. The sand pits were the inspiration for H.G. Wells sci-fi book the war of the worlds and the place where his space ship landed . These pods are cast in aluminium resin , there organic bodily forms resembling surreal seed pods. Each po 50cm x 50cm . Steel supports varied heights max 180cm

Pods, Installation Horsell Common, Woking UK.

Sneeze 2020 - A COVID 19 form made from cast pelvic bones, representing our human fragility during the pandemic. The form then multiply repeated creates an imaginary sneeze as if the virus were visible spreading through air. The Image is black and white, COVID 19 is so small it neither absorbs or reflects light. Colour seen in electron microscope images is artificially give. Despite its size it has caused havoc to human kind.


Sneeze 2020

Precarious lives uses a pelvic bone to bridge the artists's past medical experiences in Thailand at a refugee camp and Patpong the red light district in Bangkok. The pelvis is penetrated in sex but also reveals itself in death.
  
There is a conflict between the pleasurable objectification that can occur in loving sex and the repugnant brutality of sexual abuse and exploitation, the difference is agency. 
     
The refugee camp also drew attention to objectification and agency. Genocide, murder is the ultimate objectification of people. In death we are reduced to flesh and bone - a carcass. In time all that is left the only visible memory of what was once a thinking loving person is bone. 
 
In Precarious Lives objects are petrified to resemble bone. Making these objects into remains objectifies them in the same way that we are objectified in death. One could argue that guns, grenades, and sex toys are already objects but by rendering into bone it creates a level playing field of traces, memory and loss.It is arranged as an ironic mandala


Precarious Lives.

Part of series looking at repetition creating difference with replication. These surreal bodily forms combine to form a whole that is greater than the sum of its parts.Aluminium resin. Each pod 50 cm x 50cm x 35 cm .

Surreal forms. Installation.

Part of repetition series exploring repetition creating difference not replication. Each deconstructed form when combined undergoes a process of metamorphosis creating something new - a whole that is greater than the sum of its parts.

Metamorphosis.

Part os a series exploring repetition to create difference not replication, where the whole becomes greater than the sum of its parts. Inorganic materials , polystyrene, calico and jesmonite are combined to create an ironically organic form reminiscent of bleached coral. These inorganic materials cause harm to our oceans. 100cm x 50cm x 50 cm

Climate Change

Evolution is part os a series of work that explores repetition to create difference not replication, where the whole becomes greater than the sum of its parts.
Using deconstruction of a repeated form that is multiply combined an evolutionary change tase place resulting in an organic looking structure made from inorganic materials. 180cm x 60cm x 60cm . marble resin, bronze, calico, jesmonite.

Evolution

Fake News is made from hydroxychloroquine packages and cast tablets to create a viral form. President Trump declared hydroxychloroquine a treatment for COVID-19 which was subsequently disputed. Lupus patients who depend on hydroxychloroquine were unable to get their medication for much of April as a result of a subsequent shortage in supply,  putting many at risk. 

Fake News

Beached reflects the experience of feeling depersonalised as an immunocompromised and medically shielded artist during the COVID19 pandemic Cast driftwood symbolises feeling beached, stranded at home and the combined objects relate to this autobiographical experience. Driftwood like the virus returns in waves. Fragmented doll parts represent the depersonalisation of being removed from society and the lack of agency of being told to stay inside and feeling puppet like. Cast hands and arms reference washing hands to prevent COVID-19 and the inability to shake hands and embrace.   Femurs represent mortality and the commonality of our human fragility during this current pandemic. The sculpture is held together by bloody bandages a reference to Florence Nightingale, the NHS and the new Nightingale hospitals. The driftwood is arranged in a form resembling COVID-19 and rendered to look meat-like a reference to the wet markets where COVID19 allegedly originated. COVID19 is often artificially coloured red in electron microscope images but is also symbolic of danger. The entire sculpture is invaded by bats the supposed vector. The work is deliberately decorative and reveals the darker aspects of the pandemic, creating dissonance. 

Beached

Dream or Nightmare is an autobiographical work of an immunocompromised medical doctor and artist shielded from society during the pandemic of COVID 19.  The work reflects the experience of mixed identity as both observer and participant, as medical practitioner and patient living in social isolation. The work is highly personal, just as the artist has had to rebuild herself piece by piece so the sculpture has evolved by using repeated metaphorical objects that relate to the pandemic. Human femurs reference human mortality and are combined with driftwood. Although both different, they are both vestigial remains and rendered to look like bone- is it bone or is it driftwood? Driftwood is symbolic of feeling beached (stranded) and like the virus returns in waves.  When viewed, the contextual links are re-assembled to reveal a hidden narrative. The doll-like faces represent feeling depersonalised by the experience of isolation, the hands the inability to embrace, and the bats the vector of Covid 19 invade the sculpture. The work is bound by clean bandages symbolic of healing, a reference to the artists medical past and mixed identity as a patient. They also allude to Florence Nightingale and the Nightingale hospitals. The work also has a mixed identity, although deliberately decorative it reveals the darker aspects of the pandemic , creating dissonance. The sum becomes something like a surreal optical puzzle, oscillating between dream and nightmare. 

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Sally de Courcy