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Painting (MA)

Nicole Coson

Born in Manila, Phiippines in 1992, Nicole Coson is a London based Filipino artist. Prior to the Royal College of Art, Coson completed her BA in Fine Art at Central Saint Martins. Coson has been selected for Bloomberg New Contemporaries 2020.

Solo Shows:

2019: Deflect, Galerie Untilthen, Paris, France

2017: Camouflage, Silverlens Galleries, Manila, Philippines

Group Shows: 

2020: Bloomberg New Contemporaries 2020, TBC

2020: Cacotopia 04, Annka Kultys Gallery, London, UK

2020: Snapshot, Dyson Gallery, RCA, London,UK

2019: Painting, Differently, Silverlens Galleries, Manila, Philippines

2018: Tirada, Curated by Patrick Flores, Cultural Center of the Philippines, Manila, Philippines

2017: Print Dept., Division of Labour, London UK 

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Degree Details

School of Arts & Humanities

Painting (MA)

I am interested in exploring the concepts of visibility and disappearance, with reference to camouflage and concealment in nature as well as in human applications as tactical countermeasures. I am in search of a productive position within invisibility that lends artists the opportunity in which we are able to negotiate the terms of our visibility. To vanish and reappear as we please and as necessary to our own personal and artistic objectives. 

My work operates between print and painting, between organic and the mechanical, between the anonymous and deeply personal, between a specific place in the Philippines and anywhere at all. 

I create works that seek to stretch and skew the viewers ability to detect cultural precursors as memories, where identity and location blend into seamlessness constructing a space which is both familiar and alien, escapist and entrapping. I wish to create an imagined safe space to run away to, a place which stems from a point of personal history, a moment intricately and preciously encased in layers of fleeting apparitions of my father and tropical childhood flashbacks. An instance I can step into, when things become overwhelming and frantic, beyond the dimensions of the living, a place of perfect dislocation. I want these works to function as architectural interventions of physical space piercing walls with flourishing green windows inviting the viewer to get lost in misty tropical landscapes or breaks between blinds and into the stage of a memory accessed countless times. 

Exeunt1, 2020, Inkjet Print on Paper, Magnets, Steel, 100 x 156 cm — Exeunt1, 2020, Inkjet Print on Paper, Magnets, Steel, 100 x 156 cm

Detail

Exeunt is a term used in theatre which describes a point in a play wherein all characters depart from the stage leaving behind only the set and its props.

The collages in this series are weaved from a single source, a photograph of a tree lined pond by my childhood home in the Philippines. These works are imbued with personal history, specifically focusing on episodic memory, the trauma of loss and the secondary loss we experience when we inevitably and unwillingly begin to forget.


The original image serves as the stage of a memory I constantly return to in my dreams and in my waking life, the instance in which I fall into the pond and am pulled out of it by my late father. Each completed collage becomes a part of a library, a personal catalogue of the same moment accessed differently. Through building layers of details extracted from the same image, I attach a different kind of distortion to each work mimicking the slippery and unreliable nature of memory as well as its ability to change and degrade, as well as adopt new unexpected features, like a neglected garden.

The memory is played over and over again, becoming scratched, mishandled and weathered with time like a favourite record. The steel sheets onto which works are installed are my old etching plates which further reflects the this idea of age and weathering from repetitive use. The rust accumulated on the surface records marks made by the oils left from hands during handling.

Medium:

Inkjet Print, Magnets, Steel

Size:

100 x 156 cm

Exoskeleton1, 2020, Oil on Canvas, 130 x 200 cm

Exoskeleton1, 2020, Oil on Canvas, 130 x 200 cm

Detail

130x180 cm

Exoskeleton is a series of works made using Venetian blinds, a simple and commonplace object seen from within as well as from outside the home.

As the virus drew closer to the UK, and I witnessed family in Asia slowly withdrawing into isolation, I made these works in anticipation of the day in which we would no longer be leaving our houses. The day in which our doors were sealed shut and our only way to see the outside was through the glass of our windows.

While producing these works, I was thinking about how the pandemic was transforming or shifting our notions of the public and private. As the edges of our bodies began to blur, the walls of the house became the outer epidermis that was protecting us from the outside. I felt like we were like oysters on the seabed, entombed.

To make these works I carefully applied oil based ink onto each slat of a set of old Venetian blinds and pressed canvas against it to produce an imprint.

Medium:

Oil on Canvas

Size:

200x130cm

Exeunt2, 2020, Inkjet Print on Paper, Magnets, Steel, 100 x 156 cm

Detail

Exoskeleton2, 2020, Oil on Canvas, 260 x 160 cm

Exoskeleton2, 2020, Oil on Canvas, 260 x 160 cm

Detail

Detail

Exeunt 3, 2020, Inkjet Print on Paper, Magnets, and Steel, 100x156 cm

Detail

Medium:

Inkjet Print, Magnets, Steel

Size:

100x156cm

Exoskeleton 3, 2020, Oil on Canvas, 110 x 150 cm

Exoskeleton 3, 2020, Oil on Canvas, 110 x 150 cm

Detail

Exoskeleton 3, 2020, Oil on Canvas, 110 x 150 cm

Installation View at Silverlens Gallery, Manila, 2018

Installation View at Silverlens Gallery, Manila, 2018

Silverlens Gallery, Manila, 2018

Silverlens Gallery, Manila, 2018

Silverlens Gallery, Manila, 2018

Detail

These works are in reference to a traditional weaving pattern called Binakul from the Northwest of the Philippines. It is believed that evil spirits hovered overhead and preyed on sleeping souls. The pattern on the fabric is intentionally dizzying and is used as an invisibility cloak to protect the sleeping wearer from being detected by the demons above. I attempt to recreate this effect this using camouflage netting, a modern device, like razzle dazzle, designed to obscure the edges of tanks, weapons and buildings which would otherwise be vulnerable to opponents who patrolled the skies. Camouflage netting normally appears in colours reflecting the terrain in which it is deployed, but devoid of this, their insidious agency is flattened and what emerges is this ancient safety blanket.

Camouflage 2020, Oil on Canvas, 260 x 160 cm

Medium:

Oil on Canvas

Size:

260x160cm

Exeunt, Installation View at Annka Kultys Gallery, London, 2020

Exeunt, Installation View at Annka Kultys Gallery, London, 2020

Exeunt, Installation View at Annka Kultys Gallery, London, 2020

Exeunt, Installation View 2020 Nicole Coson CACOTOPIA 04 Annka Kultys HR 3

Exoskeleton 4, 2020, Oil on Canvas, 70 x 130 cm

Thank You,

Nicole Coson

nicole.coson@gmail.com

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