Alicia King is an interdisciplinary artist exploring intersections of nature, technology and the sublime. Through an alchemical approach to materiality and process, King's work uses diverse technology to create representations of the natural environment.
King's art practice explores the transformative potential of biological matter, contextualised within ideologies of technological supremacy over the natural world, that place us within a continual mythology of the ‘future’.
King's practice also examines tools of biological technologies, as a way to explore contemporary perspectives of biological material as conceptually loaded and transformative.
King holds a PhD from the University of Tasmania 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 book Bio Design: Nature + Science + Creativity, by William Myers. Other publications include The Routledge Companion to Biology in Art and Architecture and New Scientist.
King has participated in exhibitions and residencies throughout Australia, Europe, Asia, and the USA including the Australia Council Tokyo Studio Residency, and Asialink Tokyo Wonder Site Residency; the Cité Internationale des Arts, Paris; the Galapagos Archipelago (self-directed Australia Council funded residency); Foundation BAD, Netherlands; Organhaus, China, and Urban Glass, Brooklyn.
She has been involved in a range of collaborative projects internationally, including with OLTA (Tokyo), as one third of The Holy Trinity (collab with Mish Meijers and Tricky Walsh), and 6A ARI projects.
King’s work is held in collections including the MONA Museum Collection, the National Gallery of Australia Collection (artwork collab with Mish Meijers and Tricky Walsh) and the Ken Fehily Collection.