Corile
Alice Corile was born in 2000 in North London.
She lives and works in Bath.
UPCOMING EXHIBITIONS
2022 Bath Spa Degree Show, Group Exhibition at Locksbrook Road Campus, Bath.
2022 Interludes: Bath Spa Graduates, Group Exhibition at Mall Galleries, London.
EXHIBITIONS
2022 Time is Both a Soup and a Ribbon, Group Exhibition at Michael Pennie Gallery, Bath.
2021 Offsite Project: House Viewing, Solo Project in an unfurnished house, Kent.
2021 In The Meanwhile, Group Exhibition at 17/18 Milsom St, Bath.
2021 Quiet Moments, Group Exhibition at Michael Pennie Gallery, Bath.
2019 UCA Epsom Foundation Exhibition, Group Exhibition at UCA Epsom, London.
WORK EXPERIENCE
2022 Invigilating for John Wood and Paul Harrison at Open Studios, Spike Island, Bristol.
2021-PRESENT Artist Assistant for Rod Harris, Valda Jackson, John Wood and Paul Harrison, Spike Island, Bristol.
2017 Learning Department assistant, Royal Academy of Arts, London.
2016-PRESENT Commercial Artist Assistant, London.
EDUCATION
2019-PRESENT BA, Fine Art, Bath Spa University, Bath.
2018-2019 Foundation Diploma, Art and Design, UCA Epsom, London.
COURSES
2016-2018 Attract Art Course, Royal Academy of Arts, London.
2016 Polish Language and Culture Course, Marie Curie-Skłodowska University, Lublin.
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TIME IS BOTH A SOUP AND A RIBBON, 2022
"Time is both a sop and a ribbon. We do not alas notice it. It is something that happens to us while we engage in various activities, some of which make time, and some of which take time."
- Naomie Kremer, 'Painting and time: Fifteen points of view'
Borrowing its title from the writings of Naomie Kremer, this exhibition asks what happens when time becomes an active participant in artworks and making. How does the nature of the work change when time is lavished upon it? What happens when an excess of time is put into it, or not put into it?
This exhibition presents the work of Lily Horner, Alice Corile and Seren Birtles in a way that hopes to draw links between how the materiality of time is seen across our different practices. Individually, the selected works explore wider themes of enchantment, ritual and body. Above this however, together they comment on the make time and take time nature of artistic practice.
HOUSE VIEWING, 2021
“A long time ago, the walls must have been painted a drab green. Then this colour was painted over with an equally drab grey. Little bands of these two colours remain in the window recess, a wider band of grey and a narrow, barely perceptible strip of green, framing the square of yellow light” (Kunzru, 2013)
A solo offsite project in the form of an installation. Screen prints and textile work displayed in my late grandmother's house explore the relationship those pieces had to that specific domestic setting.
Not organised as a public event, the audience is invited instead to watch a tour of the space in a house viewing-type video.
IN THE MEANWHILE, 2021
“The Waiting Room
We are three artists whose work shares themes of temporality, the everyday and domestic. Through the use of a range of painting, textile, and sculpture we have collectively investigated these ideas of the passing of time, impermanence, and a documentation of different human narratives. We have worked collaboratively to create an exhibition of our work which reflects the experience of artists over the last year and building a space which blurs the line between artist studios, galleries, and the domestic. Our work also thinks about the experience of time over this period and the feeling of being stuck in limbo, waiting for things to change.
Now that this is beginning to happen we wish to share this experience with you. ”
QUIET MOMENTS, 2021
A collaborative group exhibition centred around the question:
“Do we want the title to be a conversation or a statement?”.
In this particular exhibition, I have chosen to showcase prints from my own source images and screens that I had made, isolating them from the initial objects they came from (playing around further with the conservation of a narrative). The colour scheme for this imagery was carefully selected, with two main colours taken from each side of my family.
I find that working with textiles, painting and screen printing help to convey my ideas most fluently. Through playing with the precise boundaries of the screen printing process, and developing ideas in either paint or stitching into their surfaces, I enjoy finding valuable developments of my work in the nuances or slight ‘accidents’ of their surface. In this way, I tend to work almost obsessively, finding comfort in the meticulous formation of patterns.