Last month I mentioned doing a printmaking workshop at The Artworks. The seven week course has come to an end and has been a really interesting exploration in technique and materials. I started off the course trying out etching with inscribed scribbles as illegible ‘writing’. I also tried drypoint and had the idea to bring in discarded plastic packaging (which I’ve used in various ways in my practice before) to treat as a drypoint plate. After several attempts and being dissatisfied with the results, I realised that the most interesting results had been a squashed plastic tray. It had unsuccessfully printed the inscribed words but what was interesting to me was every time it was inked up and went through the printing press it made a different flattened impression. Playing on words; this printing ‘plate’ (technically a collagraph) is also a flattened version of a ready-made food container which is a stand-in or a poor-substitute of a dinner plate. Therefore this series of prints is called ‘Plates’ which I’m showing in an exhibition in Leeds called Dualism (15 April – 5 May).

 

I also mentioned I’d been selected for a writer’s residency working with Yorkshire Visual Arts Network, Corridor 8 and artist Sarah Smizz, producing a piece of writing for publication later this year. My research methodology is using snowball sampling to interview artists about their practices in order to unearth hierarchies and challenge the uncritical use of the term ‘resilient’ to describe artists in the region. This project has really picked up pace over the last few weeks (literally snowballed!) and has been incredibly inspiring talking to so many (previously unknown to me) artists about their work and strategies of resilience.

 

In the midst of juggling everything and critically questioning what it means to be resilient, I took the decision to step down from my role as coordinator for Halifax Mothers Who Make. It’s a sad decision but something had to give. I felt the group needs more time and energy than I can currently commit to really develop it and hopefully I’ve found a brilliant successor to continue the work Lucy Simm started and I continued for 18 months after. This decision did not come lightly, as I really enjoyed the role, but I had to acknowledge I couldn’t maintain everything I wanted to do at current pace without serious risk of burnout.

 

As well as ongoing curatorial projects Art Lab at Dean Clough, Soundstripes and Dwell Time, I’m Associate Artist for Welland Festival 2019. Of course, this involves rubbish and it also involves talking in the form of collecting stories of past and imagined future Elland. I’m collecting discarded bottle caps/lids and stories of Elland through guided litter-picking, story-telling walks around a 1.2km route along the new imagined shoreline of Elland-on-Sea. Scientists predict that if all the ice caps were to melt, the sea level would rise by 80m. My walking route of Elland plotted around 80m altitude is where the future coastline would be. These guided walks will inform my research and bottle cap collection for a new installation for Welland Festival in June.

 

Find out more about how to get involved in walks, send in your stories of Elland and where bottle cap the collection points are below.

 

Welland Cap Stories https://capstories.home.blog/

Welland Festival https://www.facebook.com/wellandfest/

 

Alice Bradshaw https://www.alicebradshaw.co.uk/

Museum of Contemporary Rubbish https://museumofcontemporaryrubbish.blogspot.com/

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