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The theatrical presentation of three bullets under a glass bell on a pedestal (1980) undermines the functionality of the use-objects and produces a sense of pointlessness, which is enhanced by the choice of dysfunctional materials.

At first sight, Copers’ work often appears highly accessible and it attracts with its beauty. But this is always followed by a moment of amazement. Things are never what they at first seem, or at least not entirely. His work is visually attractive, but has a hint of danger. The theatrical presentation of three bullets under a glass bell on a pedestal undermines the functionality of the use-objects and produces a sense of pointlessness, which is enhanced by the choice of dysfunctional materials.