Women CineMakers, Special Edition

Page 54

Women Cinemakers meets

Aliceson Carter Lives and works in Shaftesbury, Dorset, United Kingdom

Aliceson started at Art Education in her late 30‘s studying Fine Art at Goldsmiths College, London 2006-2009, since then she has continued to make work, exhibiting widely, both here and abroad, and taking part in several international residencies. Recently she won the People’s Choice Award at Black Swan Arts Open in Frome, for the multi- exposure photographic piece In England’s Green And Pleasant Land. Carter’s work starts from points of observation, of time and place and our interactions within them, she is interested in these small moments, and plays with them to create works that allow reflection of the world around us. Work usually has a performative element to it and it manifests itself in the form of video, video installations and photography.

An interview by Francis L. Quettier and Dora S. Tennant womencinemaker@berlin.com Hello Aliceson and welcome to : we would start this interview with a couple of questions regarding your background. You have a solid formal training and you hold a BA of Fine Art in Studio Practice & Contemporary Critical Studies, that you received from the prestigious Goldsmiths College: how did this experience influence your evolution as an artist? Moreover, does your direct the trajectory of your artistic research?

Thank you for giving me the opportunity to answer your questions. I hope to find out more about my practice through this interview, as outside the confines of education it is not often you get prompted to reflect. My time at Goldsmiths completely formed my contemporary critical practice, so in that way the course title was spot on. I started the course when I was 38, after a Foundation Course at Croydon College. I had recently got divorced and had three children ages 10 to 15, so it was a pivotal – and very busy – time for me. Previously I had done art evening courses when the children were small, and my first job at 16 was as a trainee draughtswoman in the days of pen and ink. Later on I painted murals and trompe-l'œil for schools, homes, and with young offenders. School art wasn't a great