Describe one of your fondest memories of life on the Beaches?
Eating pancakes down at Dee Why Beach with my Mum and Dad.
What inspired your Tawny cover?
The disappearance of post-war homes on the Northern Beaches has led me to archiving such homes in the format of printmaking. This Dee Why home on the September cover being an eye-catcher and probably my favourite home on the Beaches was a no brainer. I’ve done works of it over the years, but they’ve never seen the light of day, so I felt it best to create an updated and further detailed work of it. Furthermore, unfortunately and ironically, it looks set for demolition very soon with a block of units to go up in its place. I’m very glad it’s saved forever in Tawny Frogmouth print!
What inspires your work in general?
I’d say conversation is my biggest inspiration. Talking to others about process and epistemologies around art theory. Otherwise, a simple walk in the suburbs to absorb the landscape and homes that sit among it, whether that be around the Northern Beaches, or rural parts of NSW or Victoria.
How would you describe your art?
My art deliberates upon the appreciation for an era of homes from around 1945 to the late 1970s. I hope that these works remind people of a style of design that is fast eradicating from our landscape. My prints depict the facade of these homes but never an owner or bodily form in order to suggest the home being an indexical mark of a person. That is, these homes in their own right are a portraiture and suggestion of ongoing and previous lived experiences.
What is your favourite part of the artistic process?
I’d have to say walking in suburbia taking photos of these hidden gems scattered about the land. In terms of printmaking, my favourite part is probably the blocking out process of etching which is how I get a tonal variance in the image.
Which artists, or other inspiring people, (dead or alive) would you most like to have dinner with and why?
Whilst it may come across as quite an obvious one, I’d love to have dinner with Howard Arkley for his ability to comprehend suburbia and what it represents for the Australian landscape. His quirks, language and understanding of the fetish for finish as well as direction, line, shape, and colour of a post-war home matches my obsession with the Australian suburban home.
What else are you working on?
I’m continuing to work on an array of lino-prints and etchings of post-war homes I’ve taken photos of. However, I’m also currently working on some new video works displayed on 1970s CRT TVs, as well as working towards the realm of some sculptural stuff.
What’s your favourite thing about what you do?
For me it is the conversation that is created around my work, the links people of all ages make to their childhood or life at a younger age. My subject matter of Suburban Australia seems to appeal to many. Regarding process, I’d have to say I just love sitting in my studio and working away for hours and hours on a work listening to music, mostly moody and calming instrumental tunes.
How can people buy and support your work?
I have my website joshcoppo.com and an Instagram account @j.coppo where you can view my works, and get in touch with me to buy work or even just have a chat! I love a good conversation on my subject matter at hand. Keep your eyes peeled as I’ll be exhibiting a solo exhibition in the next year or so.