Rhythm Adjust

The Forest Floor works attempt to play on the space between factual record and individual memory, the transparency of the photographic image onto the metallic surface attempts to provide a space through which to recall interactions with undergrowth, maybe the sound of leaves and twigs crunching under foot. The scale of the photographic image is that of the viewer looking down, and so there is an intention to locate the viewer, in addition, the close cropping, limiting the information, potentially opens up space for the individual to consider their personal interactions and memories. The resistant aluminium plate confronted with the photographic image, provides an almost clinical record of 'place' as well as acting as a clear acknowledgement to analogue black and white photographic processes and the action of recording, again potentially allowing the viewer to associate the image with personal experience and memory, with no colour and few clues to direct them. 

"My practice is engaged in concerns around how we access and record space, how we might romanticise or change our perception of landscapes, depending on our individual experience, and what role the photograph can play in editing out the peripheral aspects of places we visit. Notions of home and how we relate to a place, through ideas of belonging… or not, has become more prevalent in recent works.

I have described my practice as using landscape as a medium, as opposed to it being identified as the subject matter, playing on tropes of the picturesque in an attempt to discuss concerns with experience, access and expectation. Interrogating how a landscape can function as an allegory for our relationship to educational, political and social structures.

The development of ideas through direct engagement with materials is key to the way I work, the starting point in most instances presents itself as the photographic image. How this is referred to or incorporated into the surface and form of the work is an ongoing negotiation." - Alice Wilson, 2021

Accolades

Education: MA Fine Art, 2009 - 2011. Wimbledon College of Art, UAL. BA Honour Fine Art, 1st Class, 2002-2005. Loughborough University School of Art and Design.

Selected Recent Solo Exhibitions: Forthcoming, solo exhibition with domobaal gallery, Nov-Dec 2021 dates tbc. ISLAND, solo exhibition, JGM Gallery, September 2019. Goat Moth, solo exhibition Godsbaden, Denmark, November 2018. Alice Wilson, solo exhibition, DOLPH, London, September 2017.

Selected Recent Group Exhibitions: The Contact Layer, curated by Ian Gonczarow and Painting at the End of the World as part of Pictura Fesitval, Montreal Nov-Dec 2020. The Collectors Room, curated by Karen David JGM Gallery, March 2020. HABITAT Artists Making Furniture or Things That Could Be Confused As Furniture, JGM Gallery, curated by (myself) Alice Wilson and Dominic Beattie, November 2019. Backyard Sculpture, domobaal gallery, June 2019. Harder Edge, Saatchi Gallery, London, until 14th Jan 2019. Painting and Other Bad Habits, Charlotte Fogh Gallery, Aarhus, Denmark, December 2018. Recreational Grounds, curated by Fiona Grady and Tim Ralston, April, 2018.

Funding and Awarded Residencies of note: Hogchester Arts, residency, November 2021. 2018 British Council International Development Fund, for year long project in Aarhus, Denmark. Merz Barn, Cumbria, funded residential stay, March-April 2017, funded by DOLPH projects and Arts Council England. Hospitalfield Interdisciplinary Residency, Arbroath, Scotland, August 2015. Arts Council England Grant for the Arts to deliver my project ‘frame’ as part of the development programme for Hackney Wicked Arts Festival, 2014

www.alicewilson.org
@alice_m_wilson