Five Coyotes Singing Studio — Artist group
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The Five Coyotes Singing Studio is an artist group that sometimes collaborates. They work out of the Yoors Street Studio in Newford owned by Sophie Etoile, also a member.
Books and Stories Studio Appears In Edit
The group is an intricate part of the Newford art scene.
“The actual studio’s owned by a friend of mine named Sophie Etoile, but we all work in it from time to time. There’s five of us, all women, and we’re doing a group show with a theme of child abuse at the Green Man Gallery next month.” ~ in Jilly Coppercorn's words — "In the House of My Enemy"
The name comes from the title of a painting . . .
Other Details Edit
- They’re doing a group show with a theme of child abuse at the Green Man Gallery next month ~ "In the House of My Enemy"
|Name||Talent / Interest||About|
|Sophie Etoile||studio owner; abstract painter||Jilly's close friend; owns the studio that the group works out of.|
|Jilly Coppercorn||painter||improved her life; helps street kids in trouble|
|Isabelle Copely, 'Izzy'||painter||lives partly in Newford and partly on Wren Island; studied arts at Butler University|
|Meg Mullaly||photographer||did a piece for the group show called: This Is Where We Dump Them, Tinted photograph|
|Claudia Feder||painter||did a piece for the group show called: How Can You Call This Love? in oils;|
|Annie Mackle||young pregnant girl||Jilly enters a crude drawing of hers in the "Child Abuse" show posthumously|
Connections (characters, places) Edit
|Albina Sprech||Gallery owner||ran Green Man Gallery||saavy and wise|
|Green Man Gallery||Gallery||Artists sometimes display there||owned by Albina Sprech;|
|Yoors Street Studio||Art Studio||houses the group||artists in the group work out of the studio sometimes for group projects|
Art pieces for the "Chile Abuse" themed show Edit
✥ ✥ Stolen Childhood, by Sophie Etoile. Copperplate engraving. Five Coyotes Singing Studio, Newford, 1988.
A child in a ragged dress stands in front of a ramshackle farmhouse. In one hand she holds adoll—a stick with a ball stuck in one end and a skirt on the other. She wears a lost expression, holding the doll as though she doesn’t quite know what to do with it. A shadowed figure stands behind the screen door, watching her.
✥ I Don’t Know How to Laugh Anymore, by Jilly Coppercorn. Oils and mixed media. Yoors Street Studio, Newford, 1991.
A life-sized female subject leans against an inner city wall in the classic pose of a prostitutewaiting for a customer. She wears high heels, a micro-miniskirt, tube-top and short jacket, with a purse slung over one shoulder, hanging against her hip from a narrow strap. Her hands are thrust into the pockets of her jacket. Her features are tired, the lost look of a junkie in her eyesundermining her attempt to appear sultry. Near her feet, a condom is attached to the painting, stiffened with gesso. The subject is thirteen years old.
✥ Daddy’s Home, by Isabelle Copley. Painted Wood. Adjani Farm, Wren Island, 1990.
The sculpture is three feet high, a fiat rectangle of solid wood, standing on end with a child’s face, upper torso and hands protruding from one side, as though the wood is gauze against which the subject is pressing. The child wears a look of terror.
Two children sit on the stoop of one of the abandoned buildings in the Tombs. Their hair is matted, faces smudged, clothing dirty and ill-fitting. They look like turn-of-the-century Irish tinkers. There’s litter all around them: torn garbage bags spewing their contents on the sidewalk, broken bottles, a rotting mattress on the street, half-crushed pop cans, soggy newspapers, used condoms. The children are seven and thirteen, a boy and a girl. They have no home, no family. They only have each other.
✥ How Can You Call This Love? — by Claudia Feder. Oils. Old Market Studio, Newford, 1990.
A fat man sits on a bed in a cheap hotel room. He’s removing his shirt. Through the ajar door of the bathroom behind him, a thin girl in bra and panties can be seen sitting on the toilet, shooting up. She appears to be about fourteen.
✥ In the House of My Enemy, by Annie Mackle. Pencils. Yoors Street Studio, Newford, 1991.
The images are crudely rendered. In a house that is merely a square with a triangle on top, arethree stick figures, one plain, two with small “skirt” triangles to represent their gender. The two larger figures are beating the smaller one with what might be crooked sticks, or might be belts. The small figure is cringing away.
Events in the Series (spoilery area) Edit
Notes / CommentsEdit