Artist in conversation: Sally de Courcy
“My work aims at challenging our perception of ourselves, our fragility and strength. My sculptures evolve by manipulating multiple cast objects so that the whole becomes greater than the sum of its parts. Using repetition as emphasis, the outcome has a decorative geometry and kinetic unity that expresses are shared human experiences and conditions. In my earlier medical career, whilst working in the developing world, I was exposed to the suffering of refugees from a genocidal regime. Much of my work revisits these experiences as a witness of human suffering. My work is not autobiographical in the figurative sense, but like many artists explores the liminal space between conscious representation and unconscious influence.”
Follow Sally here.
- Welcome to The Holy Art. Could you tell us a little more about your background, and how did you begin creating art?
I was born in Canterbury, Kent, UK. An interest in social justice led me away from art into a career in medicine. Early in my medical career I was exposed to the suffering of refugees after a genocidal regime. After returning to the UK sudden illness resulted in my early medical retirement. No longer able to do the job I loved, I turned back to art and to art school. I took an access course at the University of the Creative Arts, Farnham and progressed to a BA in Fine Art before obtaining Master of Arts in 2016. During my masters I revisited these earlier medical experiences which underpin my practice.
- What art do you most identify with?
I identify with conceptual art that expresses are shared human experiences and conditions. I like art to provide a platform for discussion allowing difficult or uncomfortable subjects to be addressed.
- Can you describe one artwork or series from your oeuvre that you feel was pivotal in your career?
During the pandemic I was shielded because I am immunocompromised. This led to a series of autobiographical pandemic works exploring the isolation of being confined to my home. I benefited from the many virtual exhibitions that arose because of the pandemic and this led to further exposure and opportunities.
- Which other great artists inspire you and why?
The philosophical reasons for repetition of violence through history explored by authors Butler and Zizek have influenced me, together with artists Doris Salcedo, Ai Weiwei and Mona Hatoum who transcend their autobiographical experiences to comment on thematic human issues.
- Can you talk about the process of creating your work?
My practice is very process orientated, I work from a small shed in my garden, making moulds to cast objects over and over- a messy, yet methodical production line. Repetition as a means of artistic practice requires considerable patience and it is at times laborious and obsessive. My creative ideas occur at night away from the manufacturing process of daytime when I have no time to think or reflect as the process is all absorbing. Creativity starts only when all the objects are made. I often do not know what the outcome will be until I start arranging the objects and the sculpture slowly evolves, sometimes through a happy accident! It has taught me not to have pre- conceived ideas, to keep an open mind and to explore materials and to take risks. I am passionate about my work, and it is a privilege to explore and share my ideas with others.
- What advice would you give to emerging artists entering the art world?
I have found social media a great way to network with artists and galleries and to discover opportunities to submit work. I think it is important not to be put off by the inevitable ‘not successful on this occasion’ emails but to believe in yourself and despite knock backs keep going! I have found discussing my work with other artists and viewers hugely helpful in the development of my practice. I also think having an up-to-date website is essential.
- What do you hope that the public takes away from your art?
Using varied materials, I cast repeated contextually linked objects that when perceived are re-assembled to reveal a hidden narrative. I aim for the narrative within my art to be a platform to raise awareness of subjects that are often overlooked or ignored within society and to be a focus for discussion. My work is frequently decorative but hiding darker and often sinister subjects that when revealed create dissonance.
- What is your dream project?
I think my dream project would be to exhibit my human rights pieces together, but it requires a very big exhibition space as some of the installations are huge! These works can be seen on my website www.sallydecourcy.co.uk. I would like to provide an open platform for a subject that I feel passionate about .
- Finally, are there any projects you are currently working on and able to speak about?
I have just completed a 300cm mandala called the Colour of Mourning about the current refugee crisis crossing the English Channel in small boats since land and air routes to the UK closed during the pandemic. It is being exhibited at Freshair sculpture in June 2022. It is made of many symbolic objects that all need to be waterproofed as it is being displayed on sand outside. I am also working on some abstract works for the same exhibition. My family were Irish Catholics, and I am currently researching and developing my next work looking into historic human rights abuse by the catholic church. It is a difficult subject and that needs to be sensitively approached.
