Alice Channer (b. 1977, Oxford) is a British sculptor whose practice is characterized by distinctively sensitive forms of hybridity between the natural and the man-made.
Channer’s enquiry frequently takes her into processing plants, factories, and other sites of material and chemical production, where she examines how substances are mixed, transformed and ‘created’. This focus on material metamorphosis underpins her sculptural language: industrially produced materials are stretched, cast, extruded, or altered until they assume forms that appear biological, often evoking flora, fauna, or geological matter.
Within her generation, Channer sits among a group of artists—including Edith Dekyndt, as well as practitioners such as Anicka Yi and Helen Marten—who probe the porous boundaries between organic and synthetic worlds. Like these peers, she works with a sculptural vocabulary that closely studies the behaviours, surface qualities, and ecological resonances of the biological realm while simultaneously engaging the aesthetics and infrastructures of industrial production. Channer’s particular contribution lies in the way she allows these two registers to coexist without hierarchy: the manufactured becomes strangely alive, and the biological appears technologically inflected, creating a terrain where material transformation mirrors broader cultural and environmental shifts.
Channer’s work has been included in major international exhibitions such as the Liverpool Biennial (2021), the 55th Venice Biennale (2013), and Glasgow International (2010). She has participated in significant institutional group exhibitions at Tate Britain, London; Hamburger Kunsthalle, Hamburg; the Royal Academy of Arts, London; Yorkshire Sculpture Park; Whitechapel Gallery, London; and the Fridericianum, Kassel. Her most recent solo exhibition, MEGAFLORA, took place at the Natural History Museum “Giancarlo Ligabue”, Venice (2025).
Her work is held in major public collections, including Tate, London; the Solomon R. Guggenheim Museum, New York; Hamburger Kunsthalle, Hamburg; Pérez Art Museum Miami; the de Young Museum, San Francisco; Kunstmuseum Appenzell; and the Government Art Collection, London.