Candace Couse

Friday, 18 January 2013

My Strangely Accurate Fictional Biography


Candace Couse

Candace Couse (°1985, St. Thomas) creates mixed media artworks, paintings, media art and installations. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Couse often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
Her mixed media artworks establish a link between the landscape’s reality and that imagined by its conceiver. These works focus on concrete questions that determine our existence. By examining the ambiguity and origination via retakes and variations, she presents everyday objects as well as references to texts, painting and architecture. Pompous writings and Utopian constructivist designs are juxtaposed with trivial objects. Categories are subtly reversed.
Her works never shows the complete structure. This results in the fact that the artist can easily imagine an own interpretation without being hindered by the historical reality. With the use of appropriated materials which are borrowed from a day-to-day context, she tries to increase the dynamic between audience and author by objectifying emotions and investigating the duality that develops through different interpretations.
She creates situations in which everyday objects are altered or detached from their natural function. By applying specific combinations and certain manipulations, different functions and/or contexts are created. By exploring the concept of landscape in a nostalgic way, she investigates the dynamics of landscape, including the manipulation of its effects and the limits of spectacle based on our assumptions of what landscape means to us. Rather than presenting a factual reality, an illusion is fabricated to conjure the realms of our imagination.
Her works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role.

Oddly, none of that was written by me, or even by anyone familiar with my work. It comes from 500 Letters, a project by Belgian artist Jasper Rigole for a self-generating artist bio. I don't know if the accuracy in the letter above is a testament to Rigole's intuition, or a comment on the limited scope of all artistic practice and the specific (and unifying) concerns of the human condition. And yet, perhaps I am just swept up like an unsuspecting horoscope reader who wants this month to carry the promise of a life-altering romance! I'll just finish reading and  indulgently announce, "This is so me!" (but seriously, it is so me).

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