Human, Nature, and animal interactions are the theme of my art. I often dream of paradise where all living respect each life and the earth. I am the one who always feel often isolated with society and nature…..I always start daydreaming the world of colors and life’s interaction.

Majoring in Psychology at university and being introspective about masculinity, the theme of my work, has helped shape me as an artist.
I decided to paint ‘BELIEVE IN YOU’ when I was strongly shocked at the earthquake in Fukushima, Japan, on March 11, 2011. As a painter I couldn’t help doing my best to express the confidence in the people in Japan and commemorate the victims. Actually I couldn’t keep back my tears while I was painting it.

The work is a simulation of life, which stems from history, fiction, and humanity allowing room for falsification. The artist provides a nonspecific narrative and the viewer becomes an active interpreter. The images are characters trapped within their medium. The magic of the unreliable narrator is the creation of a new reality.

The main characteristic of my recent works is the companionship of simple and ordinary elements which at the same time convey the sense of complexity and nostalgia.
These elements are influenced by my surrounding social and political situations.
The reflection of these situations can also be experienced by the presence of empty spaces. Dance of these empty spaces in each composition – to inspire the mind and raise some questions – is similar to an unleashed attack of lunacy to penetrate and conquer the soul.

Fantasy confronts reality.  We can create our world as we would like it to be in our minds.  Here we are limitless.  It is only when we try to bring this world to a documentable reality that we are confronted with other fantasies looking to occupy the same real space.  This is the world of winners and losers.  Fortunately the rules of the game allow for losers to be virtual winners by achieving enlightenment in their fantasy space.  While painting I encounter this same phenomenon.  The various elements of the image compete for inclusion with the same kind of apologies.  Arguing for legitimacy using the same tact, poise and reason as in our own 3-D world.

“Juliette GORGES COPPENS, born 1969 in Paris, is a French artist working and living in Berlin. She is self-taught and works since 20 years with different medias, sketches, collages, stained glasses, but her favorite is oil on canvas or on paper, the technique, which is used in her abstract paintings and her last series-creation ‘Portraits’, having the ambition to paint women and their feelings and hoping to touch, move and delight all those who recognize themselves.”

“I dream, therefore, I am”

I create art because I must.
It is a necessary extension of my life.
It identifies and substantiates my existence.
It is my profile and my legacy.
I want to intrigue and entertain.
I want to initiate wonder and questions.
I want to communicate my thoughts, dreams and desires.
most of all, I want to be!

My plastic work mainly focuses on the Feminine, the Intimate, and the Intimacy with the Self.
“Ephemernity” is a series of photo-paintings (giclée prints), in which the Shadow engages physically a sacred dance with nature. The substance of Shadow is unveiled; its deepest secrets, its intrinsic texture – invisible to the human eye – revealed. Shadow and nature intertwine, intermingle, melt into each other, to coalesce into a new vibratory entity independent from its original source.  Entity carrying its own ephemeral and sibylline message, opening the door to another dimensions – cosmic and eternal.

As the first in four generations on one side of my family not to be a combat veteran, and on the other side the direct descendent of one of the most radical figures in the American left-wing activism movement of the 1960s, Al-Uzzá’s Chamber is a part of a series around the war in Afghanistan that communicates an ambiguity of identity that reflect my feelings around situational ambiguity of contemporary war, of isolation, of idolatry, of eroticism, and filial love.  It is a questioning of the French legislation which would ban women from wearing traditional Muslim clothing, but moreover the disquieting political majorities on both the right and left that hold collective angst around the threats to Western ideals and values, and our actions which build religious fundamentalist movements.
When asked about my position on this war, I answer that I have more questions than conclusions.
A group of shadow governors are leaving Al-Uzzá’s.  Why they are leaving and why they have been there is unclear.  Is she desired or condemned?
A devotional flower bearer offers Al-Uzzá a gathered bouquet of poppies.  Who is he to Al-Uzzá?  What is his offering meant to express?
Al-Uzzá lays nude on her couch, both covered and uncovered.  Are the most personal parts of her hidden or on display?
If a nude veiled woman presents herself in public in Paris, she would doubtless be arrested – but would it be for her nudity, or her veil?  Would this painting also be illegal in France?

I am an artist and an Art teacher.  My artwork is a reflection of lots of emotions from various situations whether political, personal or shared.