Who Killed Mr. Moonlight

Interview with Alexander Carey - Morgan

In this thought-provoking interview, the artist reflects on the profound artistic process that shapes his work, exploring how personal experiences and the manipulation of materials allow him to tap into deeper realms of creative exploration. He delves into the cyclical themes of decay and rebirth, where the physical and emotional challenges of performance art push him toward transcendence, seeking a greater understanding of existence itself. Through this journey, his work becomes a meditation on life, transformation, and the eternal tension between creation and destruction.

Was there a moment, during your studies or background, that sparked an awareness of your identity? How much has engaging with industry professionals or studying specific aesthetics influenced (or continues to influence) your vision?

I couldn’t specify a singular moment; I give credit more to a mix of experiences that developed my awareness. I’ve been very fortunate to work alongside some incredible artists and professionals. It’s so important to have mentors and peers, people you can converse with and gain experience from. Currently, being with Hinterraum has been brilliant. It’s informed, influenced, and educated me to gain a deeper understanding of my art and myself as an artist. Being surrounded by creatives who are willing to challenge and push ideas helped me to open up to a dialogue that meant the work was more honest. I’ve learnt so much from this community. What Hinterraum is doing is undeniable, and I believe Aidan will play a key role in the arts and cultural exchange of our time.

The cycle of life involves a natural process of decomposition and an approach to death, which has always been a symbol of fertility and rebirth. What drives you to explore these extreme conditions? Is your preference for certain materials and their manipulation connected to this?

There’s so much beauty in the decay; it tells the story, it shows the life that’s been lived. I love materials that are worn and aged, objects that have lived lives, that have gained wisdom from their experiences. From stains on fabric to scratches and marks on surfaces, it leaves an imprint of an experience. It gives memory to the piece. Part of this love probably comes as a reaction to the glossy, very plasticised world I live in. These cycles (of decay and rebirth) surround us everywhere we go; they are the system in which we exist. I feel in search of truths, to discover a greater understanding of this. The art is the outcome of the exploration. I try to follow my gut on these; I’ll be drawn to something, often later the reason is revealed. The key is to trust the instinct. The same goes for certain materials; I am drawn to them, and often they reveal themselves to me. There is an unspoken connection between us — certain materials that, for me, I can feel more spirit in them, that can go on to show their marks of life.

“There’s so much beauty in the decay; it tells the story, it shows the life that’s been lived.”

photo by Laurence Hills
photo by Laurence Hills
photo by Jason Renaud
photo by Laurence Hills

Is there an underlying sense of normality that one might not expect? The simplicity of gestures and ordinary fragments of daily life that allow you to delve into the true depths of the mind? Or do you constantly pursue extremes and limits to connect with your artistic soul?

What’s normal nowadays?
Normality is subjective; my normal is completely different from someone else’s. For example, it’s normal for me to listen to one song on loop for an entire day — this is bizarre for others. I’m definitely someone of excess; if I’m doing something then I’m really doing it. No half measures. In terms of connecting with self and opening up to an inner dialogue, I find an importance in being fit. I run a lot; it’s a wonderful place for me to process ideas. It also allows me to connect with nature, which is vital. I use water a lot as well — both drinking and externally on my face and body — it gives clarity. It refreshes. I also find an importance in taking in my surroundings; it’s all connected. The surroundings will play a part in the works, so it’s important for me to acknowledge them.

Focusing on your latest work, ‘To the Horizon and Back’, the result emerges from a tangible performance, both physically and mentally. How did this idea come about? Did the adrenaline after the phase of constraint push you towards artistic directions you had not previously envisioned? Do you believe that a process of deprivation directly leads to increased creative freedom?

Prior to the performance, I spent time in hospital with my father. I saw him for three days in a state of limbo — neither dead nor living, between existence and non-existence. That sparked something within me; it was there that the concept was born. I had also been reading about states of being, and the effects of changing your environment. The experience definitely led me to create a new body of work that wouldn’t have come without it. Art led by experience: a cause and effect, or action and reaction. In my case, the deprivation allowed me to find a new space, and from there the works came to be. I can’t say whether this would work for others or if it increases creativity.

“The horizon being a place where matter transcends into the ethereal.”

photo by Jason Renaud
photo by Laurence Hills
photo by Alexander-Carey-Morgan
photo by Laurence Hills
photo by Duarte Sarmento

Engaging in certain practices can be mentally challenging, and the body often responds with involuntary reactions. Were there moments during the three-day performance when your mind pushed you to limits that were difficult to endure? Were there mantras, thoughts, or forms of psychological self-discipline that helped you?

Totally. This piece really pushed me both physically and mentally. There were a lot of hurdles to overcome during the performance. The build alone was difficult… moving half a tonne of clay. Then once inside I was dealing with no light, no time, no movement… towards the end, I was in a great deal of pain. For all of this, I was focused on exploring the space between thoughts. In the silence, to find something/somewhere unmovable. A space of solace. It was a form of transcendental meditation; I have some breathing practices that help me get into that space, but I’d never gone as far as I did in there. I’d also like to thank Laurence Hills, who documented the full performance; he was so supportive and key to the success of the piece.

Your art constantly challenges the notions of horizon and limit. How do you think you can push beyond that threshold? Do you envision an art form, a material, or a process form that transcends the balance you have maintained so far?

This exploration of the horizon was new to my time spent in Lisbon. Prior to going inside the Clay Dome, I was taken to Boca de Inferno to look out at the horizon. Boca had an incredible energy to it. Inside the dome, I made the connection between the horizon and limbo. The horizon being a place where matter transcends into the ethereal. I see these works as just the starting point of this, a step of the journey. I feel a responsibility to push beyond. I don’t have a definitive material or process; I trust that this will come. This will be revealed to me. Most of my recent works have been muslin-based; I feel a strong connection with this material. At the moment, I’m in between spaces. I’m very excited to expand on these works once I reach my new studio, and see what it will bring to them

photo by Max Theodor
photo by Jason Renaud
photo by Max Theodor
photo by Jason Renaud
Photo by Rei Delos-Reyes wearing Ann Demeulemeester

Who Killed Mr. Moonlight

Credits:

Artist: Alexander Carey – Morgan / @alexandercareymorgan
Interview: Annalisa Fabbrucci / @annalisa_fabbrucci
Editor: Maria Abramenko  / @mariabramenko

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