Leonie Bradley | Text Prompt: A General History of Quadrupeds IV, 2024
Wood Engraving
Media Dimensions: 21 x 25 cm
Image Dimensions: 12 x 12 cm
Edition of 50
Framed/unframed
Leonie Bradley’s work examines themes of identity and ecology. Encompassing writing, printmaking, animation and production, her practice is broad with a specialism in wood engraving. Leonie often uses this highly traditional technique, in combination with contemporary technologies, to highlight cultural shifts in the post-digital age. Leonie’s current series explores the potential of AI as a tool for artists. Referencing Thomas Bewick’s groundbreaking work ‘A General History of Quadrupeds’, Leonie inputs the same, basic text prompt into an AI art generator, interpreting the rapidly generated outputs in the very slow medium of wood engraving. At first glance, the works appear anatomically correct, but on closer inspection reveal physical impossibilities. These works document AI art's fallibility, underlining the essential role of the artist and the current limitations of the technology. Whilst amusing, the series also serves as a warning against biodiversity loss as they are reminiscent of Bewick’s illustrations such as the ‘Cameleopard’ imagined from written descriptions. Leonie is a member of the Royal Society of Painter-Printmakers and the Society of Wood Engravers. She has an MA in Multi-disciplinary Printmaking from UWE, Bristol. Leonie received the Climate Art Installation Award at Woolwich Contemporary Print Fair in 2022. Last year, she had major print installations in Oxford and at COP28. Her work is held in many collections including the V&A, London; Ashmolean Museum, Oxford; Manchester Metropolitan Museum; Sustainability Pavilion, Dubai; and, CAFA, Beijing.
Wood Engraving
Media Dimensions: 21 x 25 cm
Image Dimensions: 12 x 12 cm
Edition of 50
Framed/unframed
Leonie Bradley’s work examines themes of identity and ecology. Encompassing writing, printmaking, animation and production, her practice is broad with a specialism in wood engraving. Leonie often uses this highly traditional technique, in combination with contemporary technologies, to highlight cultural shifts in the post-digital age. Leonie’s current series explores the potential of AI as a tool for artists. Referencing Thomas Bewick’s groundbreaking work ‘A General History of Quadrupeds’, Leonie inputs the same, basic text prompt into an AI art generator, interpreting the rapidly generated outputs in the very slow medium of wood engraving. At first glance, the works appear anatomically correct, but on closer inspection reveal physical impossibilities. These works document AI art's fallibility, underlining the essential role of the artist and the current limitations of the technology. Whilst amusing, the series also serves as a warning against biodiversity loss as they are reminiscent of Bewick’s illustrations such as the ‘Cameleopard’ imagined from written descriptions. Leonie is a member of the Royal Society of Painter-Printmakers and the Society of Wood Engravers. She has an MA in Multi-disciplinary Printmaking from UWE, Bristol. Leonie received the Climate Art Installation Award at Woolwich Contemporary Print Fair in 2022. Last year, she had major print installations in Oxford and at COP28. Her work is held in many collections including the V&A, London; Ashmolean Museum, Oxford; Manchester Metropolitan Museum; Sustainability Pavilion, Dubai; and, CAFA, Beijing.
Wood Engraving
Media Dimensions: 21 x 25 cm
Image Dimensions: 12 x 12 cm
Edition of 50
Framed/unframed
Leonie Bradley’s work examines themes of identity and ecology. Encompassing writing, printmaking, animation and production, her practice is broad with a specialism in wood engraving. Leonie often uses this highly traditional technique, in combination with contemporary technologies, to highlight cultural shifts in the post-digital age. Leonie’s current series explores the potential of AI as a tool for artists. Referencing Thomas Bewick’s groundbreaking work ‘A General History of Quadrupeds’, Leonie inputs the same, basic text prompt into an AI art generator, interpreting the rapidly generated outputs in the very slow medium of wood engraving. At first glance, the works appear anatomically correct, but on closer inspection reveal physical impossibilities. These works document AI art's fallibility, underlining the essential role of the artist and the current limitations of the technology. Whilst amusing, the series also serves as a warning against biodiversity loss as they are reminiscent of Bewick’s illustrations such as the ‘Cameleopard’ imagined from written descriptions. Leonie is a member of the Royal Society of Painter-Printmakers and the Society of Wood Engravers. She has an MA in Multi-disciplinary Printmaking from UWE, Bristol. Leonie received the Climate Art Installation Award at Woolwich Contemporary Print Fair in 2022. Last year, she had major print installations in Oxford and at COP28. Her work is held in many collections including the V&A, London; Ashmolean Museum, Oxford; Manchester Metropolitan Museum; Sustainability Pavilion, Dubai; and, CAFA, Beijing.
