Rut Copons. La Industrial Art School. Selected Graduate 2018
Published: 03.07.2018
Rut Copons’ project is based upon three movies that describe dying worlds where life is extremely complex due to environmental disasters, abuse of power and an unethical technological development. The only one to blame is humankind, which has brought the world to this point of no return and must now face the consequences. With this dystopian approach, cinema, literature and jewelry try to draw attention and raise awareness of the need for change before it’s too late. It won’t be easy, but we have to try!
/ Sònia Serrano
La Industrial Art School, Higher Degree of Artistic Jewelry, Barcelona, Spain.
Dystopian societies appear in many artistic works, particularly in stories set in the future. Some of the most famous examples are Ray Bradbury’s Fahrenheit 451, George Orwell’s 1984, or Aldous Huxley’s Brave New World.
Dystopias are often characterized by dehumanization, totalitarian governments, environmental disaster, or other traits associated with a cataclysmic decline in society. Dystopian societies appear in many fictional sub-genres and are often used to draw attention to real-world issues regarding society, environment, politics, economics, religion, psychology, ethics, science, or technology. However, some authors also use the term to refer to actually-existing societies, many of which are or have been totalitarian states, or societies in an advanced state of collapse and disintegration.
Ricard Ruiz Garzón (writer, journalistand curator of the short-story anthology "Mañana todavía. Doce distopías para el siglo XXI") says “(…) Today, dystopia is more realistic than utopia, working simultaneously as a genre of social criticism, political in more than one sense, that matches our time’s critical designs. With the crisis, but also with the abuse of power and several alarming ways of manipulation, it looks like we need dystopia’s admonitory tone to shake us a bit and force us into thinking what’s in store unless we fix it. When facing the dystopian anti-hero, we are forced to look into the mirror; those anti-heroes fight and usually lose, yes, but they try. Isn’t that better than our present passivity?”.
This project tries to explore three cinematic examples of dystopian fiction: Blade Runner (1982, Ridley Scott), Mad Max: Fury Road (2015, George Miller) and Nausicaä of the Valley of the Wind (1984, Hayao Miyazaki).
These are three pictures with some common points and many diverging others, butnevertheless they express in different languages; to that extent, different materials and combinations have been used to provide different expressivity.
This work deals with movies, but is not intent in creating pieces with merchandisable purposes, so maybe you won’t recognize those pictures easily. Concepts are explored, approaching the aesthetics and genre of each title.
The ethics of artificial intelligence, the meaning of Humanity, the depletion of resources (clean water, oil...) and even Mother Earth’s revenge in a fictional post-apocalyptic human society. Those are some of the concepts this work will play with.
/ RutCopons
More works and contacts:
E mail: rutcopons@gmail.com
Instagram: @rut_lois
Web: toscabcn.com
Find out more about the courses and deadlines for applications to La Industrial Art School.
Dystopian societies appear in many artistic works, particularly in stories set in the future. Some of the most famous examples are Ray Bradbury’s Fahrenheit 451, George Orwell’s 1984, or Aldous Huxley’s Brave New World.
Dystopias are often characterized by dehumanization, totalitarian governments, environmental disaster, or other traits associated with a cataclysmic decline in society. Dystopian societies appear in many fictional sub-genres and are often used to draw attention to real-world issues regarding society, environment, politics, economics, religion, psychology, ethics, science, or technology. However, some authors also use the term to refer to actually-existing societies, many of which are or have been totalitarian states, or societies in an advanced state of collapse and disintegration.
Ricard Ruiz Garzón (writer, journalistand curator of the short-story anthology "Mañana todavía. Doce distopías para el siglo XXI") says “(…) Today, dystopia is more realistic than utopia, working simultaneously as a genre of social criticism, political in more than one sense, that matches our time’s critical designs. With the crisis, but also with the abuse of power and several alarming ways of manipulation, it looks like we need dystopia’s admonitory tone to shake us a bit and force us into thinking what’s in store unless we fix it. When facing the dystopian anti-hero, we are forced to look into the mirror; those anti-heroes fight and usually lose, yes, but they try. Isn’t that better than our present passivity?”.
This project tries to explore three cinematic examples of dystopian fiction: Blade Runner (1982, Ridley Scott), Mad Max: Fury Road (2015, George Miller) and Nausicaä of the Valley of the Wind (1984, Hayao Miyazaki).
These are three pictures with some common points and many diverging others, butnevertheless they express in different languages; to that extent, different materials and combinations have been used to provide different expressivity.
This work deals with movies, but is not intent in creating pieces with merchandisable purposes, so maybe you won’t recognize those pictures easily. Concepts are explored, approaching the aesthetics and genre of each title.
The ethics of artificial intelligence, the meaning of Humanity, the depletion of resources (clean water, oil...) and even Mother Earth’s revenge in a fictional post-apocalyptic human society. Those are some of the concepts this work will play with.
/ RutCopons
More works and contacts:
E mail: rutcopons@gmail.com
Instagram: @rut_lois
Web: toscabcn.com
Find out more about the courses and deadlines for applications to La Industrial Art School.
Necklace: Like Tears in Rain, 2018
Sterling silver, brass, methacrylate, enamel.
15 x 30 cm
Photo by: Javier Escribano, Rut Copons
From series: Dystopian Worlds/Blade Runner
© By the author. Read Klimt02.net Copyright.
Brooch: Robot, 2018
Sterling silver, ethernet wire, steel needle.
10.5 x 3.2 cm
Photo by: Javier Escribano, Rut Copons
From series: Dystopian Worlds/Blade Runner
© By the author. Read Klimt02.net Copyright.
Necklace: Time to Die, 2018
Neon wire, methacrylate, brass chain.
25 x 3.5 cm
Photo by: Javier Escribano
From series: Dystopian Worlds/Blade Runner
© By the author. Read Klimt02.net Copyright.
Pendant: Pleasure Model, 2018
Polymer clay.
5.3 x 4 cm
Photo by: Javier Escribano, Rut Copons
From series: Dystopian Worlds/Blade Runner
© By the author. Read Klimt02.net Copyright.
Piece: Max Blood, 2018
Sterling silver, Mexican Fire Opal, color thread & wadding.
5 x 4 cm
Photo by: Javier Escribano, Rut Copons
From series: Dystopian Worlds/Mad Max
© By the author. Read Klimt02.net Copyright.
Necklace: Oil, 2018
Sterling silver, epoxy resin, color thread & wadding.
38 cm long
Photo by: Javier Escribano, Rut Copons
From series: Dystopian Worlds/Mad Max
© By the author. Read Klimt02.net Copyright.
Ring: Precious Water, 2018
Sterling silver, ghost quartz.
3 x x 6.3 cm
Photo by: Javier Escribano, Rut Copons
From series: Dystopian Worlds/Mad Max
© By the author. Read Klimt02.net Copyright.
Bracelet: Furiosa, 2018
Sterling silver.
7.4 x 7 cm
Photo by: . Javier Escribano, Rut Copons
From series: Dystopian Worlds/Mad Max
© By the author. Read Klimt02.net Copyright.
Pendant: Nature’s Revenge, 2018
Sterling silver, polymer.
5.5 x x 3.5 cm
Photo by: Rut Copons
From series: Dystopian Worlds/Nausicaä
© By the author. Read Klimt02.net Copyright.
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