Marion Coutts (born 1965) is a British sculptor, photographer, filmmaker, author, and musician, known for her work as an installation artist and her decade as frontwoman for the band Dog Faced Hermans.
Named after an album by Rahsaan Roland Kirk, the group consisted of three men and three women who "mostly banged on things,"[5] including guitars, oil drums, and other percussion.
They named themselves Dog Faced Hermans, after an obscure reference in a Frankenstein film, and began paring down their music into shorter, faster songs that still maintained some of Volunteer Slavery's experimental elements.
[5] In addition to writing and singing lyrics, Coutts played cowbell and added her trumpet, giving the group a distinctive sound.
[1] Coutts is known for her non-linear film and video style, often juxtaposed with sculpture to create immersive installations, sometimes with elements that invite viewers to participate in the work.
[14] That same year Eclipse took a small garden greenhouse which was periodically filled with artificial fog, fittingly at London's Gasworks Gallery.
[14] 2002's Cult beckoned onlookers to squeeze between a configuration of rectangular columns and peer into the eyes of a black cat looped in semi-stillness on nine video monitors.
[19] Moor also scored Twenty Six Things,[20] a film that Coutts comprised from artifacts collected by Henry Wellcome that she herself was never permitted to touch.
[23] In 1997 Coutts began a relationship with fellow artist Tom Lubbock who wrote for the arts section for the British newspaper The Independent.
Initially these fragments, or "little lenses" as Coutts calls them, were a reflexive practice, which she eventually joined into a chains of texts and realized as a larger work.
[26] The memoir begins at the point of Lubbock's 2008 diagnosis and follows him, Coutts, and their son Eugene (called "Ev" in the book) up through his treatment and eventual death in 2011.