Coppens, Garance
Coppens Garance, L'eau qui court, aquarelle et fusain, 29,7 x 42 cm
© Coppens Garance, L'eau qui court, aquarelle et fusain, 29,7 x 42 cm

I perceive this world as a pile, a mass of tiny beings that pulsate together. I used to study entomology. I want to make people stare at mosses the way I stare at them. I want them to notice the fragility and the textures of these mosses. Which is why I’ll use many different mediums from watercolours, homemade vegetal inks, crayons, and pastels to acrylic paint and etching. There is something medieval about the way I compose my images or the way I draw something that is not in front of me. I believe in the softness of the bird’s feathers so I might draw them like fur or snow. The result could be the birth of a mythical creature. Sometimes I feel like a copyist monk, desperately trying to put down in books this world’s treasures before it bursts into flames. Trying to save the living in books means organizing them on pages like a collection in a precious drawers. This leads to a particular way of composing images, sometimes compartmenting them or ignoring scale which is why I described it as medieval. My master thesis was about herbals and how the rise of botany helped some women in their emancipation. It was also an herbal itself. Collecting by drawing might raise questions about wanting to possess them but it is not a catalogue, it is memorabilia to be passed on, trying to preserve a certain way of marvelling at the “other” around us. I think fantasy is much needed in times like ours, which is why I also strive to offer an escape through my art. The medium of the book allows this feeling to be conveyed in a more intimate way. Opening a book is choosing to be part of something. It is much different from the way we look at a painting, the reader is different of the watcher.