‘Shapes of Permanence’ Solo Exhibition by Alice Morey


‘Milk. Alice sent me this word in a poem over email, milk flowing through wires in search of a digital cloud in which to settle. I drank it up as I read. White pixels making my eyes wet. Later, we sat together in the park and I let the water out while an ice cream melted onto my hands. Vanilla dripped, over and over, making my skin sticky. Somehow it conjures her paintings. You’ve probably already noticed the milky vanilla veil that hangs over (and over) her pigments, a liquescent layer through which you can’t quite see, but you know something’s there, seeking sanctuary, behind a screen. Over the years I’ve seen her do different things to her paintings. She buried one alive. Dug a huge hole in the sodden mud and let the body of the canvas settle into the earth. Or maybe the mud was frozen solid – after all, she lives in Berlin. Crystals of soily ice kissing colours that continue to shine though condemned to the underworld. Another time she swam into the middle of a lake, hanging onto a painting that trailed behind. She took slow strokes as the piece undulated in still waters. Baptise cloth to make it pure; pour yourself over it, skin against skin. This matter matters: legs
kicking from side to side, water bubbling and alive, soaking up the surface. Sometimes she burns things too, mainly sticks from the forest. Can you see a story building? Mud, water, wood. You’ll know her charcoal because you can see it in front of you, making lines. They sway, curve and arch. Look.’

(Exhibition text by Louisa Elderton)

LEHMANN + SILVA presents “Shapes of Permanence”, the first solo exhibition by Alice Morey (1986, London, UK) in Portugal.
Alice Morey is a London-born artist based in Berlin. She studied at Camberwell College of Arts and University of Brighton before moving to Berlin in 2009. She has been exhibiting regularly in London, Berlin and Prague in venues such as Top Schillerpalais (Berlin), Kunsthaus LA54, (Berlin), National Gallery Veletrzni Palace (Prague) and Kunsthaus Bethanien (Berlin) among others.

She has built her art practice amongst an experimental art scene in Berlin and has experimented with building environments in site-specific locations that have been become a heavy influence on her painting processes. She is interested in how the work is controlled by its environment.
Her work breaks down boundaries of traditional methods of painting by using chemical experiments and through creating her own rituals in material processes. Her methods often combine categorisations of objects, painting and performance, and her materials range from clay, homemade charcoal, natural pigments, hydrochloric acid and yogurt.
There is a dialectic of absence and presence in her work, as well as of permanence and change. Her paintings’ hazy surfaces often veil deeper layers. Not all can be seen and mutation persists as the art bears the indelible marks of changes through the transformative substances that integrate the texture of her works.
Exploring questions around what remains within artworks and what changes and develops beyond the artist’s control, her work evolves out of this dialogue between the expressive narrative of painting and the immersion of the works within the processes of nature.