alice-rorrison__unknown__ual__2025

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School: RCA
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Year: 2025
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Source: https://ualshowcase.arts.ac.uk/project/629682/cover

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# Project Description

the stone remembers and fable of the goat

Alice Rorrison

Summary

Final work

My practice centres around constructing personal mythologies that interweave the fantastical with the everyday. Folklore and Roman, Greek, and Arthurian myths often act as a starting point, which I reimagine to comment on the personal and political tensions of everyday life. I combine a whimsical style, fantastical-nature motifs, and a naturalistic aesthetic. Thinking through making, I work in a materially-led way across disciplines including weaving, printmaking, and painting.

Narrative is central to my practice. Beginning with drawing from dreams, I record fragments of this non-linear narrative, which I then draw and redraw, and embellish through material exploration, to create art that reveals the combined material and fantastical story of a place. Forming ambiguous narratives coaxes viewers to reveal their own allegories of my practice. I reimagine the mundane through surreal narratives to explore relationships between humans, nature, and technology.

The behaviour of the material offers me directives. Monoprints encourage fast expressive ideas where marks crawl over the paper. In oil paintings I retain initial marks and forms made in the layering process to allow the narrative to reveal itself throughout the more contemplative process.

Influenced by Donna Haraway’s theory of material semiotics (1985); that materials are infused with meaning. Material-led exploration is interconnected with theories of improvisation, whereby art can facilitate a psychological function of imparting a sense of freedom to the practitioner. This theory is applied most evidently in the material I use to weave, a generational craft in my family. Organic materials are collected from my significant place or people in my daily life; from the ritual of my daily walk, to gifts from important people or events in my life.

I am continually inspired by Ferren Gipson’s Women’s Work (2022). The non-linear storytelling in Surrealist cinema, particularly The Colour of Pomegranates (1968) particularly resonates with my interest in fragmented narratives and relic-like symbolism.

Whether I am weaving, printmaking, or painting, the materials I work with are a reflection of the complexities that free and form my identity.

My practice centres around constructing personal mythologies that interweave the fantastical with...

College Camberwell College of Arts

Course BA (Hons) Fine Art: Painting

Graduation year 2025

the stone remembers , 76 x 112 cm each, monoprint on somerset paper.

the stone remembers comments on the multitude of critical feelings that come with being a person in the UK who activates for peace and rights of innocent citizens based in countries with active conflict; while simultaneously feeling as through all my actions are ultimately useless in preventing war. The Roman myth of Romulus and Remus has been particularly influential in creating this series.

The standing figure on the right points condemningly at a falling star – the star could be read as a metaphor for a bomb – yet the pointing figure condemns and does nothing.

The kneeling figure begins to blend into the liminal space of the background, alluding to the erasure of the innocent citizens. The kneeling figure also alludes to gargoyles – seemingly turning to stone. This references the way in which the earth and stone remember the cyclical nature of human-made war and destruction.

The contradiction in styles between the pointing figure being clear, and the kneeling figure fading into the background are a commentary on how different people’s lives seem to be valued differently simply because of where they were born. The falling birds references the dove of peace; hope to break the cycle that they are falling from.

fable of the goat , 76 x 30 x 6 cm, cotton, found organic materials, nails wood; and oil paint on wooden panel.

This work merges my ongoing psycho-self-portrait series with the meditative practice of weaving. Ambiguous figures repeat throughout my practice as well as my dreamscape. I take references from folklore and Roman mythology, which I then apply to a contemporary socio-political context to form a personal mythology.

Situated within a liminal space; figures, goats, birds, and moons are built up and removed through layered paints and glazes.

The found organic materials I use to weave are another facet that I use to form my personal mythology. The materials woven into this piece pay homage to the three years I have been in London; flowers have been collected from significant people and events. Lavender grows outside my home, the inclusion of its aroma transports me to the memories I have made in the doorway.

The loose weave allows the painting to breathe and expands the painting into a landscape of dried flowers – broadening ideas of memory and place.

Final work

the stone remembers and fable of the goat

fable of the goat

Degree show installation photograph (G3 Wilson Road)

the stone remembers (i)

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the stone remembers, 76 x 112 cm each, monoprint on somerset paper.the stone remembers comments on the multitude of critical feelings that come with being a person in the UK who ...

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# Links

## Official page
- https://ualshowcase.arts.ac.uk/project/629682/cover

## External
- https://www.instagram.com/gnomefishing
- https://sites.google.com/view/alicerorrison/home
- tel:+44 7895 875095
- mailto:alicerorrisonart@gmail.com
- https://forms.arts.ac.uk/client-enquiry-form/
- https://twitter.com/intent/tweet?url=https%3A%2F%2Fualshowcase.arts.ac.uk%2Fproject%2F629682%2Fcover&text=the+stone+remembers+and+fable+of+the+goat
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