„Cooking in the Ruins“
The first time I saw Alice, I knew instantly she was an artist.
Her overall demeanor and carefree attitude oozed creativity- which I would later discover was the case at her art exhibition in Berlin.
Cooking In The Ruins is the name of the collaborative exhibition between London-born artist Alice Margaret Morey and Louise Thomas. The paintings, along with a shocking art installation of a taxidermal bird are displayed in an abandoned warehouse / Job centre in Neukölln, Berlin.
As I left my house, on my way to the exhibition I pondered on the infinite possibilities of the kind of work to expect. After all, you can expect anything from a girl named Alice. Two trains and a short yet bumpy bus ride took me to the abandoned job centre in the outskirts of Berlin. The overall feel of the area was calm and cold – despite the unusually warm and humid Berlin weather (which is a rare occurrence, if you’re a Berliner). Having never been in this part of town before, I asked myself – Am I still in Berlin? I finally made it to the 7th floor where the exhibition started.
Both artists have unique and original techniques. The bright colours and abstract figures used by Morey are reminiscent of Matisse and Picasso. Bright, bold and beautiful are words that come to mind to describe the intricately detailed works displayed, contrasting the cold, abandoned feeling evoked by the amazing abandoned space.
Morey’s work are not just limited to the canvas.
The taxidermal black bird on display against a round mirror further contrast the rambunctious colour prominent in her works. Significantly, this piece especially struck me- not because of the taxidermy, but rather because of the feelings it evoked. The significance of the taxidermic bird is a clear representation of the transcendence of art beyond life, where death is just another stop and not a final destination.
As described in the exhibition pamphlet: Morey “attempts to represent a chaotic journey on a somewhat utopian platform”. I could not have described it better myself.
My favorite exhibition piece is Morey’s “Amsterdam Rooftops” (the painting on the right).
Viewers instantly notice the contrast and polarization of the size, texture and use of colour selected by the artists. Morey also uses collage in her paintings, which add depth and dimension, causing spectators’ focus to sway between the oil colours and the texture added by the collage.
No doubt that if I had 850 euro to spend, they would be spent on this painting.
Morey’s work is the perfect mixture of sadness and romance, life and death, mixed with colour and the intonation and boldness extrapolated by viewing her paintings, over and over again.
The world can definitely expect more, from Morey.
“The exhibition can be viewed by appointments until the 31st of May”
Gottlieb-Dunkel Straße 43-44
– Ric Paredes