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	<title>Grace Clifford</title>
	<link>https://grace-clifford.com</link>
	<description>Grace Clifford</description>
	<pubDate>Sun, 26 Jan 2025 18:16:38 +0000</pubDate>
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		<title>About</title>
				
		<link>https://grace-clifford.com/About</link>

		<pubDate>Sun, 12 Jan 2025 14:19:09 +0000</pubDate>

		<dc:creator>Grace Clifford</dc:creator>

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I work mainly in sculpture and installation. My studio is underneath an old factory.&#38;nbsp;The same reason I wake up in the morning is the same reason I wake up at night. I cannot believe it could be me. I think Churches and Factories are the same thing. I love horses in a way that it physically pains me sometimes. If I had a horse, I wouldn’t make work.&#38;nbsp; My hands move before my mind.&#38;nbsp; I am compelled to seek out labour. I believe this is inherited. 
Materials I am working with at the moment include scrap metal, plastic water bottles, chocolate, my body, horses, voicemails, swans and dust. 






&#38;nbsp;

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		<title>Contact</title>
				
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		<pubDate>Sun, 12 Jan 2025 14:19:09 +0000</pubDate>

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	gclifford34@gmail.com
@horse_odyssey_


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		<title>Selected work</title>
				
		<link>https://grace-clifford.com/Selected-work</link>

		<pubDate>Sun, 12 Jan 2025 14:43:54 +0000</pubDate>

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&#60;img width="3561" height="5341" width_o="3561" height_o="5341" data-src="https://freight.cargo.site/t/original/i/3fcfdb116037c362afe8526946d4ad31ed1c78f9a0eb9640ff9f01efcbc1798a/DSCF8714.jpg" data-mid="224594639" border="0" alt="Yorkshire Artspace residency 2024" data-caption="Yorkshire Artspace residency 2024" src="https://freight.cargo.site/w/1000/i/3fcfdb116037c362afe8526946d4ad31ed1c78f9a0eb9640ff9f01efcbc1798a/DSCF8714.jpg" /&#62;
&#60;img width="652" height="812" width_o="652" height_o="812" data-src="https://freight.cargo.site/t/original/i/22b68d747e2658fedd514a935783206df9fd7453d54415a4975aad73a9e8ed5d/Screenshot-2025-01-12-232634.png" data-mid="224612174" border="0" alt="self portrait (5 years old) in lard, on glass 2023     made in residence at Yorkshire Sculpture Park" data-caption="self portrait (5 years old) in lard, on glass 2023     made in residence at Yorkshire Sculpture Park" src="https://freight.cargo.site/w/652/i/22b68d747e2658fedd514a935783206df9fd7453d54415a4975aad73a9e8ed5d/Screenshot-2025-01-12-232634.png" /&#62;
&#60;img width="2500" height="3333" width_o="2500" height_o="3333" data-src="https://freight.cargo.site/t/original/i/e9668db851d059b79cdca3a660bfff77709d6674cfc0f99a596183be0bb0b379/IMG_7727.JPG" data-mid="224594696" border="0" alt="Yorkshire Artspace residency 2024" data-caption="Yorkshire Artspace residency 2024" src="https://freight.cargo.site/w/1000/i/e9668db851d059b79cdca3a660bfff77709d6674cfc0f99a596183be0bb0b379/IMG_7727.JPG" /&#62;
&#60;img width="828" height="1472" width_o="828" height_o="1472" data-src="https://freight.cargo.site/t/original/i/d7e79497b32cdec5b447f36222ea9e38f59e78ca09f4797e9842322177ae3472/9E499B06-50DB-46EB-981C-13814B2E0740.JPG" data-mid="224594694" border="0" alt="candle, mirror, vinegar bottle, cling film" data-caption="candle, mirror, vinegar bottle, cling film" src="https://freight.cargo.site/w/828/i/d7e79497b32cdec5b447f36222ea9e38f59e78ca09f4797e9842322177ae3472/9E499B06-50DB-46EB-981C-13814B2E0740.JPG" /&#62;
&#60;img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/d89c19aa7c2c6cf26c6989b9f0bd368a52900a6d38ca6639c61862a77c35d29c/DSCF8637.jpg" data-mid="224594645" border="0" alt="Yorkshire Artspace residency 2024" data-caption="Yorkshire Artspace residency 2024" src="https://freight.cargo.site/w/1000/i/d89c19aa7c2c6cf26c6989b9f0bd368a52900a6d38ca6639c61862a77c35d29c/DSCF8637.jpg" /&#62;
&#60;img width="2500" height="3333" width_o="2500" height_o="3333" data-src="https://freight.cargo.site/t/original/i/1058e28dee1868416db2e8f02d3228ad2fee0bcf7b3fc95f606ed4c5898139b3/Sculpture_GraceClifford_Untitled.JPG" data-mid="224594628" border="0" alt="always saw these gloves lying round the house as a kid, knew them as my moms gardening gloves and took me ages to realise they were my dads old welding gloves she&#38;rsquo;d repurposed " data-caption="always saw these gloves lying round the house as a kid, knew them as my moms gardening gloves and took me ages to realise they were my dads old welding gloves she’d repurposed " src="https://freight.cargo.site/w/1000/i/1058e28dee1868416db2e8f02d3228ad2fee0bcf7b3fc95f606ed4c5898139b3/Sculpture_GraceClifford_Untitled.JPG" /&#62;
&#60;img width="1667" height="2500" width_o="1667" height_o="2500" data-src="https://freight.cargo.site/t/original/i/1a0aabeb9b9d096143186a559d5a8fad03bee396989bf7b464bec6ae770e0b8a/DSC07380_Photo_GeorgeBaggaley.jpg" data-mid="224594644" border="0" alt="Fake flowers, aluminium pipe 2024 " data-caption="Fake flowers, aluminium pipe 2024 " src="https://freight.cargo.site/w/1000/i/1a0aabeb9b9d096143186a559d5a8fad03bee396989bf7b464bec6ae770e0b8a/DSC07380_Photo_GeorgeBaggaley.jpg" /&#62;
&#60;img width="5814" height="3876" width_o="5814" height_o="3876" data-src="https://freight.cargo.site/t/original/i/89c85da80bee312dc59ae09b9df2cf0c7992ca43202bc04394de7c72eb578a6c/DSCF8530-1.jpg" data-mid="224594627" border="0" alt="ALL MY LIFE 2023 welded steel, pepsi max cans in ziplock bag, imperial leather soap in wrapping 2024" data-caption="ALL MY LIFE 2023 welded steel, pepsi max cans in ziplock bag, imperial leather soap in wrapping 2024" src="https://freight.cargo.site/w/1000/i/89c85da80bee312dc59ae09b9df2cf0c7992ca43202bc04394de7c72eb578a6c/DSCF8530-1.jpg" /&#62;
&#60;img width="828" height="1472" width_o="828" height_o="1472" data-src="https://freight.cargo.site/t/original/i/4e52e4a3eaf83787e8e2ec8b6a768a8e19e942211de8b0f0272cbfa6dfa7b76a/6FAC5F7D-0553-4331-8BE6-3FE2B1CDB01A.JPG" data-mid="224594701" border="0" alt="laser cut acrylic" data-caption="laser cut acrylic" src="https://freight.cargo.site/w/828/i/4e52e4a3eaf83787e8e2ec8b6a768a8e19e942211de8b0f0272cbfa6dfa7b76a/6FAC5F7D-0553-4331-8BE6-3FE2B1CDB01A.JPG" /&#62;
&#60;img width="564" height="733" width_o="564" height_o="733" data-src="https://freight.cargo.site/t/original/i/438d6fc4249adae103d95227571edf87ee6c5e4d52611691216bc6fb093a885b/Screenshot-2025-01-12-193134.png" data-mid="224607621" border="0" alt="jesmonite, paint, marble 2024" data-caption="jesmonite, paint, marble 2024" src="https://freight.cargo.site/w/564/i/438d6fc4249adae103d95227571edf87ee6c5e4d52611691216bc6fb093a885b/Screenshot-2025-01-12-193134.png" /&#62;
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&#60;img width="760" height="811" width_o="760" height_o="811" data-src="https://freight.cargo.site/t/original/i/36562726eb5fffa7d00b60fd49afaaea5c86bb9284bbcab2213405093c1612cd/Screenshot-2025-01-12-190825.png" data-mid="224607160" border="0" alt="prep drawings 2025" data-caption="prep drawings 2025" src="https://freight.cargo.site/w/760/i/36562726eb5fffa7d00b60fd49afaaea5c86bb9284bbcab2213405093c1612cd/Screenshot-2025-01-12-190825.png" /&#62;
&#60;img width="4284" height="5712" width_o="4284" height_o="5712" data-src="https://freight.cargo.site/t/original/i/2b4ebd300f1d320dc8b63a5bcf368bb5cd78758e10e2fa3bc70e33c92cb92a7e/IMG_9528.jpg" data-mid="224594647" border="0"  src="https://freight.cargo.site/w/1000/i/2b4ebd300f1d320dc8b63a5bcf368bb5cd78758e10e2fa3bc70e33c92cb92a7e/IMG_9528.jpg" /&#62;
&#60;img width="1765" height="2048" width_o="1765" height_o="2048" data-src="https://freight.cargo.site/t/original/i/3214d73119580ff4dc21c5177010553d1783e225c9fad2f84389ae2c01c1fbf8/clamfinal.jpg" data-mid="224612189" border="0"  src="https://freight.cargo.site/w/1000/i/3214d73119580ff4dc21c5177010553d1783e225c9fad2f84389ae2c01c1fbf8/clamfinal.jpg" /&#62;
&#60;img width="5969" height="3979" width_o="5969" height_o="3979" data-src="https://freight.cargo.site/t/original/i/c18b18fd1ddbe9870d2bc8f51f4c7db681102bf5e3e018b47ddab17b0d8a6f6b/DSCF8445.jpg" data-mid="224594638" border="0" alt="plastic bottles, angel" data-caption="plastic bottles, angel" src="https://freight.cargo.site/w/1000/i/c18b18fd1ddbe9870d2bc8f51f4c7db681102bf5e3e018b47ddab17b0d8a6f6b/DSCF8445.jpg" /&#62;
&#60;img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/612d91a7a175995e1c639edd316022e2aa654c525330d2e272031e51d818dd3b/IMG_7447.jpg" data-mid="224612195" border="0" alt="yorkshire artspace residency 2024" data-caption="yorkshire artspace residency 2024" src="https://freight.cargo.site/w/1000/i/612d91a7a175995e1c639edd316022e2aa654c525330d2e272031e51d818dd3b/IMG_7447.jpg" /&#62;
&#60;img width="948" height="625" width_o="948" height_o="625" data-src="https://freight.cargo.site/t/original/i/69df3f37950e966f30c70dd68bc2ac5f40fecadb92e5a204ec382b6aec1a491f/Screenshot-2024-11-25-115338.png" data-mid="224612186" border="0" alt="yorkshire artspace residency 2024" data-caption="yorkshire artspace residency 2024" src="https://freight.cargo.site/w/948/i/69df3f37950e966f30c70dd68bc2ac5f40fecadb92e5a204ec382b6aec1a491f/Screenshot-2024-11-25-115338.png" /&#62;
&#60;img width="865" height="631" width_o="865" height_o="631" data-src="https://freight.cargo.site/t/original/i/d28871374aedff8781210d6be01b7480de8cfceea3f5e0e6f63f45b021ff933a/Screenshot-2024-11-25-114602.png" data-mid="224612182" border="0" alt="yorkshire artspace residency 2024" data-caption="yorkshire artspace residency 2024" src="https://freight.cargo.site/w/865/i/d28871374aedff8781210d6be01b7480de8cfceea3f5e0e6f63f45b021ff933a/Screenshot-2024-11-25-114602.png" /&#62;
&#60;img width="687" height="590" width_o="687" height_o="590" data-src="https://freight.cargo.site/t/original/i/ef705c2d94c6a9cd220e18ed48fa2cce5741779a8c2da963585aeeae458b2071/Screenshot-2024-11-25-114728.png" data-mid="224612183" border="0" alt="yorkshire artspace residency 2024" data-caption="yorkshire artspace residency 2024" src="https://freight.cargo.site/w/687/i/ef705c2d94c6a9cd220e18ed48fa2cce5741779a8c2da963585aeeae458b2071/Screenshot-2024-11-25-114728.png" /&#62;
&#60;img width="704" height="704" width_o="704" height_o="704" data-src="https://freight.cargo.site/t/original/i/26cc658d9dcf139f9f0f86a6cdfa4ce032575bb1029c5e47b8504f0eef6e24d4/IMG_0719.jpeg" data-mid="235817339" border="0" alt="cone of chips" data-caption="cone of chips" src="https://freight.cargo.site/w/704/i/26cc658d9dcf139f9f0f86a6cdfa4ce032575bb1029c5e47b8504f0eef6e24d4/IMG_0719.jpeg" /&#62;
&#60;img width="880" height="552" width_o="880" height_o="552" data-src="https://freight.cargo.site/t/original/i/0827f46d6ebd93c113c67a96f713fc85f6e83402fa356c107e2b491963415bfc/Screenshot-2024-11-25-115142.png" data-mid="224612184" border="0" alt="bronze horseshoes, bill plate 2024" data-caption="bronze horseshoes, bill plate 2024" src="https://freight.cargo.site/w/880/i/0827f46d6ebd93c113c67a96f713fc85f6e83402fa356c107e2b491963415bfc/Screenshot-2024-11-25-115142.png" /&#62;
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&#60;img width="3024" height="3024" width_o="3024" height_o="3024" data-src="https://freight.cargo.site/t/original/i/7e8fd96fd87066ffa04ae12d4815feb292b50a34e8a9d55e39b190f12d406a3a/IMG_3887.jpeg" data-mid="235817341" border="0" alt="breadwinner" data-caption="breadwinner" src="https://freight.cargo.site/w/1000/i/7e8fd96fd87066ffa04ae12d4815feb292b50a34e8a9d55e39b190f12d406a3a/IMG_3887.jpeg" /&#62;
&#60;img width="399" height="638" width_o="399" height_o="638" data-src="https://freight.cargo.site/t/original/i/d7b3bc7469ff5e385520489bcbe6c5072ea98c1a43fc0e5d9f7da20a4d88615f/Screenshot-2025-01-12-233055.png" data-mid="224613865" border="0"  src="https://freight.cargo.site/w/399/i/d7b3bc7469ff5e385520489bcbe6c5072ea98c1a43fc0e5d9f7da20a4d88615f/Screenshot-2025-01-12-233055.png" /&#62;
&#60;img width="399" height="506" width_o="399" height_o="506" data-src="https://freight.cargo.site/t/original/i/cff2b04f8b11626b26727b0795ae09727f198eaeb867d4cf41c1cfc1aa6527d2/Screenshot-2025-01-12-233119.png" data-mid="224613866" border="0"  src="https://freight.cargo.site/w/399/i/cff2b04f8b11626b26727b0795ae09727f198eaeb867d4cf41c1cfc1aa6527d2/Screenshot-2025-01-12-233119.png" /&#62;

	
</description>
		
	</item>
		
		
	<item>
		<title>CV</title>
				
		<link>https://grace-clifford.com/CV</link>

		<pubDate>Sun, 26 Jan 2025 14:52:28 +0000</pubDate>

		<dc:creator>Grace Clifford</dc:creator>

		<guid isPermaLink="true">https://grace-clifford.com/CV</guid>

		<description>Selected Shows

2025 GLORYBOX The Shop, Sadie Coles, London
2025 People in Pubs, Second Act Gallery, London
2025 Paradise up North, Paradise Works, Manchester
2025 Thine is The Kingdom,&#38;nbsp; Abingdon, Blackpool (solo)

2024 HYPERMARKET,&#38;nbsp; Arthouse, London
2024 Embers, Gloam, Sheffield
2024 England is a Forest, Colchester


2023 An Elastic Continum S1 Artspace, Sheffield
2023 Gatherings, SETSETSETSETSET Woolwich

2023 Ones to Watch, Sunny Bank Mills, Leeds&#38;nbsp;
2023 It’s a Joy to be Here, 87 Gallery Hull

2022 Extra Time, Womens Euros x Village
2022 Ones to Watch, Sunny Bank Mills, Leeds
2022 Going up in the World, ArtHouse, Wakefield (solo)
2022 Wet Dovetail, Middlesbourugh (solo)
Residencies
2023 Yorkshire Sculpture Park
2024 Sunny Bank Mills
2024 Yorkshire Artspace
2024/2025 WORK/LEISURE supported by Abingdon Studios, Grundy Art Gallery and Factory International
Awards
Bloxham Trust Artist Development Award
Castlefield Gallery Funded Associate Award
Henry Moore Foundation Artist Award
Press
Beth Hughes Text
In Conversation with Helen Pheby&#38;nbsp;

Other
2025 Transmission, Lecture at Sheffield Hallam University&#38;nbsp;

2025 Workshop at Site Gallery
2024/2025 More Art Inc II at Wolverhampton Art Gallery
2023 Workshop at 87 Gallery
2023 Artist Researcher at Centre for Regional Economic and Social Research

2022-2023 Curation Assistant at Sheffield Institute of the Arts


2022 Workshop at Site Gallery
2022 Montez Press radio broadcast
2022 Jubiliation in the Community, workshops for Sheffield City Council free school meal program</description>
		
	</item>
		
		
	<item>
		<title>WORK LEISURE 2024/2025</title>
				
		<link>https://grace-clifford.com/WORK-LEISURE-2024-2025</link>

		<pubDate>Sun, 26 Jan 2025 02:22:55 +0000</pubDate>

		<dc:creator>Grace Clifford</dc:creator>

		<guid isPermaLink="true">https://grace-clifford.com/WORK-LEISURE-2024-2025</guid>

		<description>
	


Thine is the Kingdom

The end point of desire
I would like to carry these ideas further, into the sea away from here
From protection and what I know
Love to 
Even still&#38;nbsp;
Pleasure and nourishment&#38;nbsp; 
Two sides of the coin
Violent fantasies 
I will never go to the top of the tower 
Self fulfilling prophecy
Seeking comfort
I am the seagull with the HOODRICH tag hanging from its mouth
Riddled with desire 
Like Blackpool, I cannot exist without 



	&#60;img width="1414" height="2000" width_o="1414" height_o="2000" data-src="https://freight.cargo.site/t/original/i/1aad5104176bed89ceda873ae7725c208fc02cdc6a5978201c391b47a373ac4b/Thine-is-the-Kindgom-draft.pdf-2.jpg" data-mid="225553318" border="0"  src="https://freight.cargo.site/w/1000/i/1aad5104176bed89ceda873ae7725c208fc02cdc6a5978201c391b47a373ac4b/Thine-is-the-Kindgom-draft.pdf-2.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>In conversation with Helen Pheby</title>
				
		<link>https://grace-clifford.com/In-conversation-with-Helen-Pheby</link>

		<pubDate>Sun, 26 Jan 2025 18:16:38 +0000</pubDate>

		<dc:creator>Grace Clifford</dc:creator>

		<guid isPermaLink="true">https://grace-clifford.com/In-conversation-with-Helen-Pheby</guid>

		<description>
	
	
</description>
		
	</item>
		
		
	<item>
		<title>Yorkshire Sculpture Park 2023</title>
				
		<link>https://grace-clifford.com/Yorkshire-Sculpture-Park-2023</link>

		<pubDate>Sat, 25 Jan 2025 17:33:03 +0000</pubDate>

		<dc:creator>Grace Clifford</dc:creator>

		<guid isPermaLink="true">https://grace-clifford.com/Yorkshire-Sculpture-Park-2023</guid>

		<description>
	

In October 2023 I was invited to Yorkshire Sculpture Park as an artist in residence. The residency was and continues to be very formative for me, allowing me to absorb the land around me and think. I spent a lot of time listening to hymns, welding, figuring out the absloute most I could get for my food vouchers and walking round in wellies.&#38;nbsp;
It was here I began to truly connect Churches and Factories.&#38;nbsp;
The residency was in partnership with the Working Class Creatives Database.&#38;nbsp;
	
&#60;img width="652" height="812" width_o="652" height_o="812" data-src="https://freight.cargo.site/t/original/i/22b68d747e2658fedd514a935783206df9fd7453d54415a4975aad73a9e8ed5d/Screenshot-2025-01-12-232634.png" data-mid="225501566" border="0"  src="https://freight.cargo.site/w/652/i/22b68d747e2658fedd514a935783206df9fd7453d54415a4975aad73a9e8ed5d/Screenshot-2025-01-12-232634.png" /&#62;
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		<title>Testing Ground 2024 with text from Beth Hughes</title>
				
		<link>https://grace-clifford.com/Testing-Ground-2024-with-text-from-Beth-Hughes</link>

		<pubDate>Sun, 12 Jan 2025 14:42:00 +0000</pubDate>

		<dc:creator>Grace Clifford</dc:creator>

		<guid isPermaLink="true">https://grace-clifford.com/Testing-Ground-2024-with-text-from-Beth-Hughes</guid>

		<description>&#38;nbsp;
	

In late Spring 2024 I was invited to be artist in residence at Yorkshire Artspace. This residency came at a great time, when I was without studio space. I thought about a lot here.&#38;nbsp;
Below is a text from Beth Hughes, who came to visit me during my residency.

It’s not mass-produced to me

What first hits you as you enter the gallery are the industrial smells: petrol, oil, grease. As part ofYorkshire Artspace’s residency programme, Testing Ground, Clifford has transformed the gallery
into a large-scale sculptural installation of seemingly disparate objects carefully positioned in
dialogue with each other. Through conversation which oscillates from the art in front of us, the
artist and I begin to find commonalities between our fathers’ professions as my olfactory memory unearths what my younger self assumed was my father's chosen cologne, Swarfega.

Clifford outlines her working method which begins by intuitively collecting objects, it is a meticulous
selection process, she then waits for their potential to be revealed through cognitive introspection,

and finally the task of arrangement and re-arrangement. The objects call to each other, sparking
memory, reflection and stimulating conversation; the installation acts as social lubricant.

I am drawn to a squat bar stool which, at a distance, seems to be a found object. As its metallic
surface slowly reveals itself, it is clear there is a laborious process that lies beneath. Cast from thirtee separate pieces, the artist describes the immense effort it took to take the stool apart to
prepare it for the casting process. She then painstakingly hammered a textile pattern into the seat,the tools for which lie nearby as the making process is no hidden secret. Created during a period of
furlough, the artist declares her dissatisfaction with the piece. Although acknowledging the benefits
of the learning journey and it not being without its aesthetic value, she feels a palpable lack of
resolution at the end of the work. As we sink further into the installation, it becomes clear as to
why.

The presence of employment in Clifford’s work is multi-dimensional encompassing both physical
and intellectual labour. In the centre of the gallery is a red, rubber welding curtain creating a room within a room; its deep, lurid red pigment is an abrasive presence and reflects the intensity required for the welding process. Clifford trained as a welder, a skill that requires a high degree of
precision and is certainly a physically demanding process, where the best welding is designed not
to be seen. Clifford raises the profile of this hidden craft by emblazoning a series of steel plaques
with short phrases which meld together notions of labour and religious practice. One in particular

stands out to me, it says simply: ‘churches and factories.’

In our view of the past, the eye can confuse church and factory; their joint associations with a
moral life, both ritualistic, both at the heart of a community, both a form of servitude. Clifford

reflects on her father’s occupation as he worked nights and slept days, which necessitated her
daily vow of silence and the threatened consequences if she transgressed and made a noise. Her
labour is hidden behind his.

While the presence of manual labour is palpable, what is most striking in this installation is the
sophisticated intellectual labour. Clifford guides me to a pink and green cannabis packet collected

some time ago and now lying on the floor by an open book. She describes the pull this packet had
for her, the source of which was initially unknown to the artist. She placed it alongside books
documenting industry in the Midlands which were collected by her Grandfather, whose father
(Clifford’s great grandfather) was a miner based in Stoke. He used to travel to the Black Country by bike in search of work as the rest of his family took refuge in a squatted pub. In laying the objects
side by side the artist noted compositional similarities between the - the billowing smoke, the chimney shapes - which magnetised these objects. She describes how she once felt her family
history was not pertinent to her but, through these material revelations, these intergenerational connections were unearthed.

This example of cultural transference reaffirms the application of memetic theory, that our genetic information is transferred in our genes and cultural information is passed on through our memes.
When Professor Richard Dawkins coined the term ‘meme’ in his seminal 1976 book, The Selfish
Gene, five years before the widely recognised birth of the internet, he described ‘the meme’ in
wider terms than our current usage extending it to any cultural idea or behaviour that is imitated and replicated. Memetic theory is yet to be fully operationalised but I would suggest that our social
class is transferred in what Dawkins would deem a longitudinal meme - those that develop into customs and traditions and maybe more akin to how genetic information passes from generation to
generation. In her material explorations, Clifford is revealing the subconscious memetic behaviours passed on through her family, which in this instance is an inherent value in manufacturing and the
making process.

This weed packet is no longer disposable detritus, as objects are only mass-produced at the point
of production. When they become part of someone’s life, they gain status and are transfigured. Sitting on the windowsill is a plastic vase with the italicised words ‘In Loving Memory’ printed in
gold. The label tells us it was bought from B&#38;amp;M Bargains for three pounds, although you’d only know that if the branding was familiar to you. Liberated from the shop shelf, this object has
potency, it is emblematic of a wider and yet unknown circumstance. All we do know is that this is the funereal object of those with limited funds. How death is done in any culture is steeped in
symbolism; deaths are deeply personal moments within the structures of our culture pertaining to a
wider universal experience and another example of memetic behaviour.

Guided by the artist’s references to organised religion, it is clear she enacts a quasi-religious
methodology. Sensing the cultural significance of an object, she waits patiently for it to be transfigured, its meaning to be released, at which point the artist lets go of any control and
ownership is reversed; the artist becomes in servitude to the object. The intense labour enacted to construct these assemblages negates the ghost of a mass-produced process as Clifford exposes
elasticity in the object, in its commonly overlooked potential to spark connection. It would seem the source of disappointment in the bar stool stems from its deficiency in this area, at the end of such a
laborious process, it failed to ignite.

Clifford goes beyond our usual understanding of ‘working-class’ as being just a label, it her work itbecomes a verb, it is active, she does working-class in her practice. I am reminded of Professor
Maria Fusco’s exploration of working-class as method, how social background permeates all aspects of creative practice and creates a standalone methodology which, in Clifford’s work, we

read through the visual. This reflects the artist’s pride in her class background which she describes

as a coping mechanism, but which I would suggest is her methodology.

In paying homage to our industrial heritage, a history of making and manufacturing, which is
integral to shaping British identity (and none more so than in Sheffield, where this residency took place), our understanding of current social constructs is questioned. Reflecting on the
intergenerational nature of class and decline in the industrial workforce, we ask who and where are
the new working-class communities?

We end our conversation with a conscious shift as the artist realises we have spoken at length but
she hasn’t mentioned her greatest love: horses. ‘If I had a horse my life wouldn’t be what it is now,
I wouldn’t make art,’ she says. Our back and forth about the shape of working-class life crystallises in her view of horses; these hard-working, beautiful creatures are the pinnacle of labour.

Testing Ground is a residency programme at Yorkshire Artspace, providing intensive

periods of creative experimentation for artists based in Sheffield. It is funded by Arts

Council England. Grace Clifford was artist-in-residence for Testing Ground #003, 1 May - 23
June 2024. For more information, visit artspace.org.uk


	
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