Summer Meadow

About the artist

It%u2019s easy to admire beauty living between orchards and ancient woodlands, among meadows and rolling hills dotted with sheep. As an American, I appreciate how quickly green spaces can disappear; as an economist and artist I am determined to show the value in their beauty and conservation. While land use and ownership is complex and sometimes controversial, there is no doubt that the British appreciate and enjoy the outdoors. Passionate gardeners, walkers, growers, birders, and stargazers exist at every turn. Perhaps living on an island, there is a better understanding of limits and preciousness. The joy of old local field names, ha-ha%u2019s to idealise and admire the beauty of farming, protected ancient footpaths and landowners creating new routes is uplifting. I am humbled by people%u2019s intricate knowledge of nature, passions and detailed pursuits. I feel extraordinarily lucky to live in a place of such an idyllic beauty and I%u2019m honoured to document this for others to enjoy. | I also enjoy using art as social commentary, aware that America lost 21 million acres of farmland from 2017 to 2023 to residential and commercial development.%u201D (https://houseofgreen.substack.com/p/whats-happening-to-all-the-american) %u201CA new poll by More in Common, for CPRE, reveals that 86% of Britons support Green Belt and three-quarters of young people want more of the UK countryside protected, though most don%u2019t trust leaders to deliver on this%u202675% of Britons want existing measures to protect specific areas of land to be strengthened, while less than 2% want to see them reduced.%u201D (CPRE) Alison wrote, %u201CArt at its very best, makes a comment about society and encourages others to make positive change.%u201D %u201CAs an artist I feel the need to create, with the anticipation that my work emotionally impacts another human beings. I strive to make art that is conscientious, beautiful, and natural. I hope the viewer recovers a memory, is filled with the desire to touch the materials, to sit down, to pause, and to remind themselves to spend more time outdoors.%u201D I work in a variety of materials but most recently was inspired by my son to explore etching. I soon realised that the beauty of the etching plate is rarely seen by the patron, and they are missing out. Whether the plate is steel, copper, brass or used carborundum and collagraph, it has an incredible patina, and is a work of art in its own right. I first considered this, captivated on a course at Ironbridge Fine Arts, taught by Jenny Mason-Gunning. Relief etching on brass has a shimmer and color that works well for my wearable pieces, commissions can also be produced in silver or gold. My process begins as a work on paper, with a drypoint or engraved etching plate, hand inked or painted with Koh I Noor Anilinky Watercolors, À la poupée. The plate is individually printed on damp watercolour paper, often incorporating Chine-collé. The print is photographed, then acid relief etched; the honesty of the flipped image is an important part of understanding printing processes. The plate, shaped with silversmithing tools into a belt or a cuff, creates wearable art which travels with you. %u2018This Land is Your Land%u2019 is my latest series inspired by Meadow Arts 2026 theme of Borders and Boundaries. Where you are from, and the places you have been, form the core of who you are, and the memories of place come with you. Like the shell of a turtle, etchings become belts and cuffs, precious amour to wear on your journey. The Belt at your core, the Cuff like your heart on the sleeve. Commissions are available: a favourite view, a recognised tree reminding you that you are always almost home, or a special place. Engraved messages on the inside, signed and numbered. |

Alison Tidmarsh is an American artist who has lived in Worcestershire, between the Cotswolds and the Welsh Border for over 20 years. %u201CIt%u2019s easy to admire beauty in nature living between orchards and ancient woodlands, among meadows and rolling hills dotted with sheep, but as an American, I appreciate how quickly green spaces can disappear; as an economist and artist I am determined to show the value in their beauty and conservation.%u201D Born outside of Boston, Alison was always happiest with a new box of 64 Crayola crayons or playing outside. At 10 she was inspired by a trip to The National Gallery, Washington D.C., where she discovered Georgia O%u2019Keeffe, Alexander Calder, and Mark Rothko. Encouraged by her own family of makers and a few very special teachers, her first submitted piece in high school won a Scholastic Gold Key Award, validating her passion for art. While studying at Kenyon College and working in The Gund Gallery, Alison initiated a fundraising campaign to transform a barn on campus into a student art gallery and performance space. Holding a BA in Economics and Studio Art, her own senior art exhibition %u2018Productive%u2019 was one of only two awarded with Distinction. Alison%u2019s love affair with Britain began while studying Painting and Historical and Critical studies at Glasgow School of Art where she favoured the work of Andy Goldsworthy and James Turrell over Damian Hirst. After working for the artist Robin Kahn, planning and organising the Time Capsule event at Paula Cooper Gallery, through the GLCA New York Arts Internship Program, she chose to move to New York City. In New York, Alison began her career at The Museum of Modern Art. Marriage took her to Pittsburgh where she worked for The Andy Warhol Museum. Moving to England, she has raised three boys while restoring an orchard, maintaining an ancient coppice with a green lane, and planted a native woodland which the family calls The Great Escape. She now finds the time to work once again, capturing beauty through her art. She continues to be inspired by Kysa Johnson, Tracy Emin, Georgia O%u2019Keeffe, Alexander Calder, Giuseppe Penone, Louise Bourgeois, Norman Ackroyd, Elizabeth Blackadder, Barbara Hepworth, Mike Abbot, Alison Crowther and Tom and Mary Marie Bahe. Alison is delighted to be a member of The Worcester Arts Collective and would like to thank The King's School Worcester for offering evening printmaking courses.

More about Alison Tidmarsh

About the artwork

The beauty of the etching plate is rarely seen by the patron, and they are missing out. Whether the plate is steel, copper, brass or used carborundum and collagraph, it has an incredible patina, and is a work of art in its own right. I first noticed this on a course with my son at Ironbridge Fine Arts, taught by Jenny Mason-Gunning. I was captivated. Relief etching on brass has a shimmer and color that works well for my wearable pieces, commissions can also be produced in silver or gold. My process begins as a work on paper, with a drypoint or engraved etching plate, hand inked or painted with Koh I Noor Anilinky Watercolors, À la poupée. The plate is individually printed on damp watercolour paper, often incorporating Chine-collé. The print is photographed, then acid relief etched; the honesty of the flipped image is an important part of understanding printing processes. The plate, shaped with silversmithing tools into a belt or a cuff, creates wearable art which travels with you.