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A young woman with a dark brown complexion and black afro hair stands at a bus stop, next to a road with houses on. The woman is inside a frame supporting a hobby horse, which has a purple plastic head and a long blonde mane. The woman holds a staff with colourful circular symbols at the top and a hand with the forefinger and little finger pointing upwards. White text overlaid reads, 'What care I for your gold and silver?'

Lucy Wright - Plough Witches

Meadow Arts digital commission, 2021.

An older woman with short, light coloured hair stands as if ready to fight. In her hand she has a staff topped with a red rectangle, with silver strands hanging from it, and the other hand holds up a pink coated sword. Behind her are pink toned woods, an illustrted pink dragon, an emoji with 'x' eyes. White text reads 'My head is made of beaten brass; no man can make me feel'.

Lucy Wright - Plough Witches

Meadow Arts digital commission, 2021.

A female-presenting person in a dark dress with a paper collar and a tall, coned paper hat stands in front of a dilapidated metal roofed barn, in a field. The figure holds a yellow ladle and has a neon yellow shadow. A pink drawing of a face, outlined in yellow hovers in the centre and an emoji moon hangs in the sky. White text reads 'Till I can get better or new I take the world as I find it'.

Lucy Wright - Plough Witches

Meadow Arts digital commission, 2021.

A young woman with a dark brown complexion and black afro hair stands at a bus stop, next to a road with houses on. The woman is inside a frame supporting a hobby horse, which has a purple plastic head and a long blonde mane. The woman holds a staff with colourful circular symbols at the top and a hand with the forefinger and little finger pointing upwards. White text overlaid reads, 'What care I for your gold and silver?'An older woman with short, light coloured hair stands as if ready to fight. In her hand she has a staff topped with a red rectangle, with silver strands hanging from it, and the other hand holds up a pink coated sword. Behind her are pink toned woods, an illustrted pink dragon, an emoji with 'x' eyes. White text reads 'My head is made of beaten brass; no man can make me feel'.A female-presenting person in a dark dress with a paper collar and a tall, coned paper hat stands in front of a dilapidated metal roofed barn, in a field. The figure holds a yellow ladle and has a neon yellow shadow. A pink drawing of a face, outlined in yellow hovers in the centre and an emoji moon hangs in the sky. White text reads 'Till I can get better or new I take the world as I find it'.

Lucy Wright

Artist and researcher, Lucy Wright lives in an agricultural community in West Yorkshire and makes work responding to rural themes. Growing up in a working-class family in rural Lincolnshire, her practice has long been concerned with exploring and re-imagining historical ‘folk’ practices to better represent contemporary societal makeup and challenging limiting stereotypes about rural communities.

Much of Wright's work has sought to address the under-representation of women, for example celebrating the threatened ecological handicraft of ‘harestailing’ (Jersey Heritage), the female-led history of carnival morris dancing (EFDSS / Airspace Gallery) and the short-lived popularity of ‘hand-blinging’ (Bank Street Arts).

Lucy Wright heads the Social Art Library for Axis, a project to build the first artist-led archive and resource bank for and about socially engaged practice. She has explored the intersections of social art and ethnography, publishing her first book, 21st Century Folk Art: Social art and/as research, in 2019. She writes articles and book chapters, and has co-authored two reports, Beyond the Gallery (2015) and From Network to Meshwork (2020) with Amanda Ravetz. Wright edits Social Works? Open journal and is a co-founder of Social Art Publications, the publishing wing of the artist-led group Social Art Network.

www.artistic-researcher.co.uk

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