page_title: Alice Anderson
section_title: Work
hierarchical_section_title: Alice Anderson / Work
caption_attribution_description: Français&#160;: Alice Anderson,
context_page_description: Alice Anderson is a French-British artist who studied Fine Art at the École nationale supérieure des Beaux-Arts in Paris and Goldsmiths College, London. She currently lives and works in London. Anderson works primarily with copper-coloured wire, colour paint, oil pastel, corten steel, and is associated with the Postdigital movement: as a way of finding spirituality through the developing technologies. James Bridle:
context_section_description: Anderson's practice has to be read in the context of the digital evolution. “It is more likely that human degeneration won’t be the cause of the robots but of our submission and our muscular and neuronal passivity” writes the paleoanthropologist and teacher at the College de France Pascal Picq .  Moving, walking and thinking will save humanity. This intuition is at the heart of Anderson's practice and in her new sculptures series ‘Bodily Itineraries’ presented at the Patinoire Royale Brussels. 	
  Alice Anderson's process-driven practice is an exploration of memory in the context of the digital world via COR-TEN steel and thread sculptures, drawings and performances. Through the transformation of virtual data into tactile forms, Anderson creates a new physical relationship with objects and spaces through ritual performance.
  Anderson's practice began primarily with video. In 2011, this took a new direction following her personal exhibition at the Freud Museum in London, where she worked on Anna Freud's loom and initiated geometrical works of lines and grids. This is also when Anderson began to use copper-coloured wire in her studio. ‘I repaired objects and put them back together again, and during one of these dismantling sessions I came across an alarm clock with a bobbin of copper wire inside it’.
  Anderson began to memorise objects from her London studio with copper-coloured wire. On her relationships to objects, Anderson says, "I always worry about breaking or losing an object, therefore I have established rules: When one of the object around me is likely to become obsolete or is lost in the stream of our lives, I memorise it with wire before it happens. If an object breaks, I encapsulate it in steel, I leave it outside for few weeks until it rusts, then I perform a ritual and when the dance is over, everything is repaired. The broken relation is healed".
  This binds her to Pina Bausch. The sculptor gives gestures to objects. The choreographer incorporates objects into dance. At the end of her life, Bausch pronounced these words like a prayer: “Dance, Dance, or we are lost.”
  Desiring to encourage collective discussions and human exchanges, Anderson invited people to join in her actions, expressing art as a powerfully charged communal ritual. This experience was going to initiate the basis of her new practice aiming to memorise objects and keep physical DATA.
  In 2015 she exhibited her objects '' in copper wire at the Wellcome Collection in London. Jonathan Jones of The Guardian described the work as "glutinous in the memory. The reason it works is because she takes the whole thing so stupendously seriously. This is passionate, obsessive, intensely concentrated work." Visitors were asked to help the artist record a Ford Mustang in wire through a collective sculpture. Anderson also uses rough material such as recycled steel and works with metallic meshes to create sculptures from repetitive gestures
caption: La Patinoire Royale Galerie Valérie Bach