Beatrice Coron
New York, New York
New York, New York
Bio: After briefly studying art at the Ecole des Beaux-Arts of Lyon, and Mandarin Chinese at the Université Lyon III, Beatrice Coron experienced life through a series of odd jobs. She has been, among other occupations, a shepherdess, truck driver, factory worker, cleaning lady, and New York City tour guide. Coron has lived in France (her native country), Egypt, and Mexico for one year each and China for two years before moving to New York in 1985. Coron tells stories through illustration, book art, fine art, and public art. She adapts her papercut designs to the mediums of metal, stone, and glass.
Statement: My work tells stories. I invent situations, cities, and worlds. These compositions include memories, associations of words, ideas, observations, and thoughts that unfold in improbable juxtapositions. These invented worlds have their own logic and patterns. For each theme, I explore various narratives: one story leads to the next, and the creation process weaves different layers of our relationship to the world.
Recently I’ve begun a series of paper cuttings about costumes. Costumes can be at once a protective armor between private and public, a surface upon which to project identity, and a functional and ceremonial expression of role-playing in society. I still call them “artists’ books,” as they contain information that can be read.
Books and fashion are laboratories for ideas and ideals. Both cultivate the unique and the exceptional and are a reflection of society. Contrasting with their uniqueness, they are marketed to appeal to the masses and become best-selling pulp fiction and socially coded ready-to-wear ordinary clothing. The writers’ muse and the emaciated fashion model are spectral beings, sacrificed to an idea of perfection. In this series, I explore literary couture and wearable ideas with threads and thoughts, sparking a dialogue about futility, appearances, and style.
Statement: My work tells stories. I invent situations, cities, and worlds. These compositions include memories, associations of words, ideas, observations, and thoughts that unfold in improbable juxtapositions. These invented worlds have their own logic and patterns. For each theme, I explore various narratives: one story leads to the next, and the creation process weaves different layers of our relationship to the world.
Recently I’ve begun a series of paper cuttings about costumes. Costumes can be at once a protective armor between private and public, a surface upon which to project identity, and a functional and ceremonial expression of role-playing in society. I still call them “artists’ books,” as they contain information that can be read.
Books and fashion are laboratories for ideas and ideals. Both cultivate the unique and the exceptional and are a reflection of society. Contrasting with their uniqueness, they are marketed to appeal to the masses and become best-selling pulp fiction and socially coded ready-to-wear ordinary clothing. The writers’ muse and the emaciated fashion model are spectral beings, sacrificed to an idea of perfection. In this series, I explore literary couture and wearable ideas with threads and thoughts, sparking a dialogue about futility, appearances, and style.