Alison Alder phoned me out of the blue last winter, and asked if I’d write a profile on her practice for UK-based magazine Printmaking Today. The fact that of all the writers in the world she’d called me is completely telling of her generous approach to creative collaboration, and hell, probably even life in general. What followed was a series of conversations – at cafes, around my kitchen table, and at her studio in Mongarlowe – around what it means to make art today, what it meant twenty, thirty years ago, and what it might mean from here. We talked about making art in dark times – all before the US election. I’d long considered Alder a personal hero and major influence, and getting better acquainted with her practice only added fuel to that fire.