https://www.surfacegallery.org/dotdot-dash-gallery
Contemporary mark making artworks created by stripping photographic ink from colour images and dripping the residue onto blotting paper.
we're not kids anymore.

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seen from Russia

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@alisonwoolacottart
https://www.surfacegallery.org/dotdot-dash-gallery
Contemporary mark making artworks created by stripping photographic ink from colour images and dripping the residue onto blotting paper.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
‘Catching the Light’ 2019 (setting up image)
Mixed Media Installation
I was lucky enough to travel to Thailand earlier this year, to join my daughter and her partner on the last two weeks of their travels. Â This gave me the opportunity to spend some valuable time alone and one of these moments was sitting on a bench on a private beach resort just before midnight.
‘Catching the Light’ is a re-creation of my experience, capturing moments in time on my mobile phone as a storm approaches the island.  In the intense blackness of the night, total silence, with only the breaking waves to calm the soul, a storm approaches.  The images taken are my attempts at catching the lightening as the storm began to consume the island.Â
A short video sends random flashes of light into a darkened booth, through a hanging image printed onto acetate, allowing the viewer to catch a split second of colour on the wall.
‘Postcards from Thailand’, 6x4″ original watercolour paintings, depict my experience, as an alternative to a beautiful multi-produced image of my location. Delicate souvenirs which contain a narrative. Â
‘Preface & Prose’ 2019
Extracted words from ‘Silas Marner’ by George Eliot in 36 glass bottles on reclaimed tile.
Mulched paper from book on wire frame.
by Alison Woolacott
Responding to a brief to celebrate the bi-centenary of the birth of our local artist George Eliot.
‘A Weaver who finds hard words in his hymn-book knows nothing of abstraction as the little child knows nothing of parental love, but only the face and one lap towards which it stretches its arms for refuge and nurture.’ George Eliot, from Silas MarnerÂ
I was pleased to find an old copy of Silas Marner in a second hand book store; its pages yellowing, delicate and crumbling with age. Â Â
George Eliot’s interpretation of Christianity (following her rejection of this faith in her early 20’s) was, I felt, beautifully analysed throughout Silas Marner and my homage to this is depicted in my sculpture. Â
She once wrote to a friend, ‘I have turned out to be an artist – with words.’ If only she knew that her words have now permanently transcended into a piece of art.Â
Cut ‘gold’ words now sit in tiny glass bottles, preserved forever, and viewers have to peer inside, like Silas Marner sat counting his gold each evening before it was stolen.
‘Flow’ 2015
‘Every souvenir object contains a narrative belonging to the person who originally chose and purchased the item.’ Â
For this work, I purchased a 1994 Volkswagen Camper Van and after examining its extensive history, I planned a journey and the van was driven back to Ingolstadt in Germany, where it was first registered. ‘Flow’ examines my physical experience of this journey whilst travelling 1,807 miles across Europe as a passenger. These are from my collection of souvenir postcards, and contain repetitive marks on their surface rather than images of local history. Distance is no longer measured in miles, but with the flow of ink.
‘Private Conversations’ 2013 exhibited as part of my curated exhibition at The Station Gallery, Nuneaton Railway Station for the third Open Arts Trail.Â
The way we communicate has changed drastically, and it is not a shock that binary code is the most widely used language in the world. The language of computers. With this in mind, I examined the private text messages I had shared with my daughter over the period of a month and transformed these words into binary code, thus making the language unrecognisable to humans.  Each individual number has been printed by hand using ink on my daughter’s used bedsheets uniting the language with an emotional bond between mother and daughter. With permission from my daughter, the original messages are presented here in one book for everyone to read, whilst the additional book can only be read by computers. Private conversations become public giving a sense of voyeurism.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
‘Support’ 2018. A selection of used pom-poms made by family members for wedding decorations in 2015.
Exhibition at The Station Gallery, Nuneaton Railway Station
‘Redefined Recollections’ & ‘Threshed Memories’ exhibited in the second Nuneaton & Bedworth Open Arts Trail September 2017
A fantastic group exhibition by Art Alert Nuneaton, which I have recently joined. Here are my pieces from this exhibition.
http://artalertnuneaton.co.uk/
‘Palingenesis’ 2016. Commissioned artwork in celebration of the new Sustainable Chemistry building at the University of Nottingham.Â
Inspired by the sweeping window on the western elevation, 'Palingenesis' has been crafted from a section of wood cladding discarded during the construction of the new chemistry building (CNL) in 2016. Encased within the structure, mutated, delicate specimens collected from the charred remains of the first build are preserved, standing proudly as individual souvenirs to represent each week leading up to the devastating fire. Requiring close inspection, scale is reversed as human reflections are captured on the polished, transparent surface like giants examining tiny samples from the past. Exploring beyond the recognisable, beauty can be found in unusual places. A Woolacott.
My installation at the Djanogly Gallery, University of Nottingham Fine Art Degree Show 2016. 'Studio Space' 2015, 'Flow' 2015 & 'Comfort Break' 2015.
This body of work was inspired by the purchase of a 1994 van in October 2015. The work examines my physical experience of a 1,808 mile journey in the van, both whilst travelling and resting. Following a set of predetermined rules, the work combines recollections of childhood journeys commingled with the present through chosen mediums; exploring notions of expressing my experience through a collection of unique souvenirs.
Distance is no longer measured in miles or kilometres, but with the flow of ink on the surface of a postcard. Personal time is contained within tiny structures juxtaposed against the hypnotical thrum of rubber versus tarmac.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
<p>Pleased to see a photograph of my work in the Rugby Advertiser this week. The exhibition continues at Rugby train station until Friday 8th April.</p>
2 of my recent works in a current site specific exhibition at Rugby Railway Station.
69 pieces of me. 5 days of travelling in a van through Europe, December 2015
60 minute free hanging motion drawing Germany 2015
One of my Paris images forms part of the current online exhibition, Salvage. Restore. Repair @ Gallery202, Northampton.

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch • No registration required • HD streaming
Bottles 1-5 from Redefined Recollections 2014. Â
Today I gave each bottle the chance to stand proud of the rest of the group to become individual pieces of art.  These bottles form part of my work named ‘Redefined Recollections’ 2014 and have been safely stored since their last exhibition.  This morning I unwrapped the collection and became fascinated in the metamorphosis that is occurring within the bottles.  Like the original Paris images, the artwork continues to evolve and alter dependent upon the elements they are exposed to. Here are pieces 1-5.