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Ann Course
Anyone who has witnessed Ann Course introducing her own work, knows she has little sentences to add to the images. The few words that are featured in the films themselves, are already pretty straightforward : Mother, Father, Fuck, Shit, War, You must Die...

When pressed, she writes very short phrases to accompany the film in a catalogue or on a website. Most of these strap lines or synopses reach the audience like hand-grenades without a safety pin, waiting to explode in the mind of the viewer/reader: 'People who have best friends are idiots' (Me, 1999). 'Mother is a human being but sometimes it doesn't seem like it' (Mother, 2000). 'Instructions on how to take advantage of the poverty stricken by prostitution' (Black Magic, 2002). Sometimes these grim comments on the human condition are pointed towards the creator herself : 'The artist is a buffoon on its way to an unsure place' (The Artist, 2000). 'A child is shaken to death, the artist is destroyed' (Rotting Artist, 2002) In the cruel universe of Ann Course, innocence is irrevocably lost and the artist incapable of formulating any remedy for this condition. There are no strong individuals, no speaking parts, just emblem-like figures, anthropomorphic icons of depravity and despair. Disney is said to have created his Mickey Mouse out of three circles, something like two dimes and a dollar coin. Although she draws a much more angular, expressionist world, Ann Course also favours all kinds of holes, openings, orifices in her depiction of human existence : 'Holes are executed, weeping and ejaculating as people play games and die around them.'(Waiting for Waste, 2000) In her cosmology, life is but a sad cycle of lust and anger, blossom and decay, consumption and pollution. Apart from the hyper-clichéd butterfly in Waiting for Waste, none of her deformed, amputated or amoeba-like characters ever really transform themselves or undergo a positive metamorphosis. They live their fate, then rot.

Still from Rotting Artist by Ann Course in collaboration with Paul Clarke, 2002
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