Alicia King is an interdisciplinary artist exploring perceptions of technology, biology and the sublime. As we are constantly reminded by popular media, developments in biological technologies stand to revolutionise our experience of being human. This continual bombardment of ideologies of technological supremacy place us continually on the brink of the ‘future’. These ideas preoccupy King's ongoing art practice, exploring the transformative potential of biological matter in humans and the wider environment.
Through an alchemical approach to materiality and process, King's works navigates a landscape of biological metamorphosis. Her practice has examined tools of biological technologies, as a way to explore contemporary perspectives of the human body as a conceptually loaded, transformative, raw material.
In 2009 she was awarded a PhD for Transformations of the Flesh; Rupturing Embodiment through Biotechnology, an artistic exploration of relationships between biotech practices and the physical, ethical and ritual body.
The Museum of Modern Art, MoMA, NYC published Alicia's work The Vision Splendid in their recent publication Bio Design: Nature + Science + Creativity, by William Myers. Other publications include The Routledge Companion to Biology in Art and Architecture and New Scientist.
Alicia is recipient of diverse grants awards and residencies throughout Australia, Europe and Asia, including the Australia Council (OZCO) Tokyo Studio Residency, and Asialink Tokyo Wonder Site Residency; the Cité Internationale des Arts, Paris; Residency in the Galapagos Archipelago, South America; Foundation BAD, Netherlands; and Organ Haus, China.
King recently curated New Alchemists exhibition, featuring international artists exploring ideas of futuristic biologies and post-human engagements within the broad intersections of art and science.
New Alchemists was reviewed in Artlink magazine, Art AsiaPacific and Art Guide Australia.
She has been involved in a range of collaborative projects internationally, including with OLTA (Tokyo), Andreas Greiner (Germany), and locally with The Holy Trinity (with Mish Meijers and Tricky Walsh), and 6A ARI projects.
King's work is held in a number of collections including MONA Museum and Fehily Contemporary Collection.
Above image: Future/future/future. 2018. Hand-carved balsa wood. 80 cm x 65 cm. Photo: Matt Stanton