“My woodcut prints are characterised by saturated colour and repeating motifs. Overlaid slabs of decorative patterning and natural forms link my immediate environment (near a river) with other places that I’ve travelled to or would like to see.
My way of working is exploratory: I usually make the prints in series of seven or eight at a time so I can play around and experiment with them, making changes as the work develops.
Prints are not produced as multiples- each one is unique.”
Julie studied for a degree in graphic design and illustration at Middlesex Polytechnic and after graduating worked for several years as a freelance illustrator alongside her lecturing and printmaking. She uses several printmaking techniques including monoprint, collagraph and linocut. Her prints are strongly influenced by her love of Persian miniatures with their beautiful patterns and flattened perspective. They often depict birds and beasts and the rich colours have a painterly quality. Julieʼs work has been exhibited widely throughout the UK as an illustrator, artist and printmaker and she has had work published in magazines and more recently by Woodmansterne Cards.
“My work is based around the themes of architecture and interiors. I take inspiration for my work from 1950’s textile prints and interior design, the work of Lucienne Day has formed a vital component in the development of my own art Practice.
I use a delicate continuous black line to capture the essence of an image, the line offset against blocks of colour and collage. My aim is to give a focus to the work which is reminiscent of the techniques, colours and element of pattern that is within 1950’s design.”
I am an experienced contemporary fine artist. I completed a degree in Fine Art at Winchester School of Art and later studied at De Montfort University to complete an MA.
I have worked in various media but more recently the medium of print has proved a very successful vehicle for presenting my curious associations and metaphoric alliances. I am a member of the Birmingham Printmakers.
Jim Anderson is a printmaker, mosaic-maker, teacher, and writer. He uses several different media; recycled materials are paramount, and his work is steeped in the surreal and the satirical.
In 1994 Sister Wendy Beckett awarded him the under-30 prize at the Eastern Art Show. Since then he has won four awards in major exhibitions - most recently in 2007’s Small Print Big Impression. In 1997 he was co-founder of The Illustrated Ape magazine; and his book Handmade Prints – written with Anne Desmet – was published in 2000. He was also one of the artists featured in Tony Dyson’s book Printmakers’ Secret.
I have a degree in Visual Art/Art History from Aberystwyth University. Following a career in business, I became a full time artist in 2005 dividing my time between my own work, teaching and public art projects. I specialise in relief printmaking working in linocut and Japanese woodblock. In 2009 I studied traditional woodblock under masters in Japan and in 2013 I completed a second Japanese residency. I specialise in rural and costal landscape and have recently completed two commissions for the Health Service, providing large scale prints of the Isle of Wight and the South Downs.
Joanna has been printmaking since the late 1980s, for many years sporadically while bringing up a family but since 2007 she has had more opportunity to print and exhibit her work.
Much of Jo's work is based on walks around her home in Newcastle, a landscape of allotments, town moor and park though more recent prints have been inspired by the island of Bornholm in the Baltic Sea. She is developing her use of woodcut to explore the degrees of transparency and subtlety which can be achieved with this medium and many of her woodcuts are printed by hand.
Jo divides her time as a printmaker with working part-time and teaching classes for Northern Print.
David T. Bowyer has been a life long printmaker, known principally for his limited edition colour etchings, but more recently returning to investigations into relief work using progressive cutting techniques.
His work is mainly landscape based, derived from visits around England and Wales; having grown up in Birmingham he finds an exotic appeal in the coastline and the progress of water to the sea. His printmaking has always been complemented by other studies on paper in oils, watercolour and drawing media, creating parallel, mutually supporting bodies of work.
“I’m based in Newcastle upon Tyne and am a member of Northern Print Studio. I most recently exhibited in 2014 as part of the International Print Biennale. I approach print as a painter, using screenprinting to develop layered translucent images using colour and line as well as making monoprinted images using ink and paint on the screen.
My prints are developed from drawings and papercuts and are inspired by plants, particularly flowers - themes include herbalism, notions of beauty, fertility and symbolism. I exploit drawing, which remains an underpinning medium for its directness, purity and simplicity.”
Working from sketch book studies and direct observation I create vibrantly coloured images using a stencil based printmaking technique with the addition of offset marks from the rollers and drypoint card plates.
Layers of inks are applied directly to the picture surface using small hand held rollers, allowing each layer to dry before adding the next. By wiping off areas that are not quite dry and removing the ink, hidden colours are revealed and the richness of the image is gradually built up.
As an artist my work is inspired by the natural environment. From the abstractions of light, shade and cloud patterns on the landscape, to the ripples spreading across a crystal clear river caused by a trout rising to take a fly. I draw and paint images of places I have a strong affinity with, many through association having lived and worked there.
Influenced by Japanese woodblock prints and the simplicity of early 20th Century travel posters, linocut printing forms the main focus of my work. I make reduction prints from a single block, printing the colours sequentially from light to dark. The editions are all hand printed using a Japanese baren – there is no press involved.
Springing from the pages of her sketch books and inspired by all things ornithological, Sue has made collagraphs for 18 years. An intaglio process which involves making a collage combining tile cement, carborundum and found textures.
Sue is fascinated by our relationship and interaction with birds in our environment and is continually inspire by the bird visitors to her town garden. She is also passionate about promoting the understanding of the artist print, Sue leads workshops and demonstrations for groups of all ages in collagraph and mixed media sketch book techniques.
I am a contemporary printmaker, working from my studio in West Yorkshire where I also run Printmaking Courses. I have taken part in residencies and many national and international exhibitions. I exhibited at Printfest in 2003 and 2005 and was given the ‘Printmakers Printer Award’. I am currently completing a residency in Gloucestershire.
I use intaglio and relief print processes to explore form and line and generate new life in the process. My approach is organic and intuitive. The main themes are flora, fauna, our internal anatomy, water, movement and tides. All feature strongly as metaphors for change and renewal.
James Bywood is an artist, printmaker and educator. Based in Morley, West Yorkshire, James is interested in replicating the British landscape through print. He specialises in taking screen-print techniques beyond their traditional commercial environment and using them to capture the landscape - both natural and man-made - in which he lives. James was educated at Bristol College of Art before working in the commercial print industry. He now splits his time between teaching printmaking, exhibiting his prints nationally, helping to manage the annual Saltaire Arts Trail, and aiding small businesses across Yorkshire capture their creative side to grow their sales.
Tang Chenghua, who teaches at the China Central Academy of Fine Art (CAFA), his work which straddles the divide between materials and mediums, has traces of a magnificent personal style. Thick, bold ink strokes are the backbone, forming the foundation for a freewheeling clash between colour and space. The image structure is marked by Chinese Kuangcao calligraphy, with its bizarre combinations of cursive Chinese script and empty space. The finely textured strokes sweep across the space, adding vivid and lively tones to the overall image. Vast swaths of blackness hint at an empty void, giving the picture pure power.
Yu Chengyou ‘s images have drawn upon the natural surroundings of the northern provinces of china, from wild life to human life , places that through the simplicity of his style, seem tranquility and uncluttered, quite a contrast to the metropolises’ of China. Solace from the maddening crowd and industrialisation of China. His work promises something better for us, a world to strive for. These are prints of vision and style, with analytical precision and imagination, that is unique to Yu Chengyou.
Merlyn Chesterman grew up in Hong Kong, returning to England to study painting at Bath Academy of Art, Corsham, and later, woodblock printmaking at West Dean College, where she now teaches on the Short Course Programme.She is a member of the Royal Society of Painter-Printmakers.
Merlyn is based in Hartland, North Devon,where she has a studio and runs courses. Her work is semi-abstract and is usually based on places that have a particular beauty.
“I am currently exploring linocuts and, in particular, reduction linocuts. I use rainbow rolls, stencils and sometimes caustic soda to enrich areas of the prints and enhance texture. At present, my artwork demonstrates my fascination with quirky, unreconstructed and unusual architectural constructions and buildings, especially any containing lettering.
Local landscapes and, occasionally, pieces from my collection of vintage items are also important to me, and I find my drawings of these frequently crop up in my artwork. Another interest is in prehistoric monuments and structures.
I base my work on my own photographs or paintings and sketches, whenever possible.”
Trained as a potter, I took a sideways step into publishing and television before returning to art full time via book illustration and I have illustrated over twenty books with publishers including Walker Books, Frances Lincoln, Transworld and OUP.
My work is in galleries around the UK and I exhibit regularly at the Affordable Art Fair- London, Oxford Artweeks, Brighton Art Fair. I am a member of the Association of Illustrators and make my prints at Oxford Printmakers and Inkspot Press Brighton.
I work with lino cuts, woodcuts and collagraph, printing in black and white and introduce colour into my work in several ways, using metal leaf, hand colouring with water colour or by the application of fine coloured tissue, a technique known as chine colle, and I often print on coloured paper.
My inspiration comes from many sources, folk tales, ethnic art and an appreciation of the natural world combined with a love of pattern.
Henrietta Studied a Fine Art Degree at the School of Art Wolverhampton Polytechnic where she specialized in Sculpture and Print. She was taught by the artist Anish Kapoor, and by the sculptor Nicola Hicks, both of whom had a significant impact on her as an art student.
Henrietta has over the years won many prestigious awards for her innovative works and clever use of line and colour, the former gaining her the ‘George Pickard’ award from the Leicester Society of Artists, and in the same year the ‘Printmakers Printmaker’ award from Printfest in Ulverston Cumbria.
I studied Fine Art and Dance at the University of Brighton before completing a Post Graduate Diploma in Contemporary Dance at the Laban Centre in London.
After graduating I taught choreography and contemporary dance to a wide range of courses at venues across West London, during this time I always kept up printmaking studying at Putney School of Art under Richard Michelle, Birgit’s Skold’s lead printmaker.
I have been working as an artist printmaker for many years; making prints mainly at Morley College, London and Ochre Print Studio, Guildford. I am currently Relief and Events Director at Ochre Print Studios specialising in the relief techniques of printmaking and organising exhibitions and artist talks.
Hannah graduated from Camberwell College of Arts in 2012 with a BA in illustration. She now lives in North London and creates limited edition linocuts from her small home studio. Inspired by the monochrome, graphic prints of both Edward Bawden and Hugo Guinness, Hannah’s linocuts are simple expressions of everyday life developed from sparse observational drawings done on trips to the coast.
Much of the subject matter for her work derives from an enjoyment of rural landscapes, a love of nature and an interest in characterful objects or home interiors which tell a story about their owner.
Working as a printmaker since the 1980’s Diana has experimented with all forms of printmaking but now concentrates on collagraphs and linocuts. Inspiration comes from locations as diverse as the arid landscapes of Morocco and Spain to the South Downs and English formal gardens.
Recent work has derived from sketches of the rolling hills of Sussex and Dorset, translated into stylised collagraph prints with a strong element of pattern and design. She is currently working on a series of monoprints inspired by the process of seed dispersal.
Diana has exhibited widely including The RA Summer Exhibition, The National Theatre, The Oxo Tower Gallery and the Affordable Art Fair.
She is a member of The Greenwich Printmakers and Southbank Printmakers co-operatives.
Kerry enjoys the process of celebrating form through printmaking; building up a body of bright and bold work using reduction linocut and screen printing. Losing herself in the intensity and precision of the linocut process and the recognition that the piece is not finished until she cuts that final line. Screen-printing offers a livelier, painterly feel and the methodical layering of colour and tone is immensely enjoyable. Inspiration comes from the many cacti and plants she shares her home and studio with, fascinated by the shapes and contours of leaves, and the joy of discovering new patterns within the vibrant green foliage.
“I am fascinated by fragments and draw my inspiration from my collection of antique textiles. I present my ideas predominantly in book format, as I feel that the book allow the viewer direct contact with myself and the fragments. The pages are created from Collagraphic prints on a variety of papers.
With my background as a textile artist, and being a largely self-taught print maker, the integration of stitch techniques and processes into my printmaking practice is a natural progression. I feel that it is the combination of these skills which give my work its particular characteristics.”
Janet Dickson is a printmaker drawn to seed heads, shaped trees, colour, form and pattern found within the garden and landscape. Multi-layered linocuts, lithographs and monotypes, feature details from some of the artist’s favourite garden spaces. Janet’s background in graphic design is clearly apparent in her linocuts and lithographs, in the tradition of English designer/printmakers, in contrast to her more painterly monotypes.
Susan’s work celebrates the mountain environment and our human need to connect with wilderness.
Her distinctive monoprints and etchings reflect the strong affinity she feels with the remote and wild places that she visits regularly and makes work in. Her evocative images transport you to a mountain world of ephemeral, changing qualities - of snow, ice, mists, high peaks and far horizons.
“Out there, often in hard to reach, difficult places, the connection is both physical and spiritual and is what gives my work its strong sense of place.”
Susan’s studio is in Northumberland. She makes her prints at Northern Print, Newcastle.
Cathy Duncan has taken up linocut printmaking in the last three years. She loves the expressiveness of the medium and the process of producing a finished print. She previously painted from her quick observational sketches, with particular focus on musicians, performers and movement. Her first linocuts were a development of these ideas. Her current work is a series of linocuts inspired by trees in the landscape. Having trained as a Landscape architect, she has always been interested in the aesthetic, practical and ecological role of trees in the environment.
Cathy Duncan lives in Northumberland and has a studio at The Hearth, Horsley.
Born in Cumbria I went on to qualify as a teacher having studied Fine Art at Durham. I enjoyed teaching art and Printmaking for a number of years. After living in various parts of the UK and also abroad, in 2011 we returned to live in the Northern Lakes.
I am now able to concentrate on producing my own work. I am a Printmaker and my specialism is Lino Printing. I now exhibit and sell my work in several galleries throughout the UK. I have my own Albion Printing Press which I use to produce my work.
Screen prints focusing on photographic representation, symbolism and metaphors. The innovative juxtaposition of elements often result in a surreal or humorous image. Producing commercial illustrations for a wide range of clients from weekly editorials to large and prestigious ad campaigns. In addition to commissions, original screen prints are exhibited in local Galleries along with a range of hand printed greeting cards, soft furnishings, t-shirts and tote bags. Art has been a big part of my life and education, right through to graduating from Leeds Metropolitan University, in Graphic Arts and Design with a First Class Honours. Now located in the Lake District.
My artistic practise is centered in both exploration of process and thematic exploration of the concepts of memory and relocation or translocation. My work is narrative in nature, with the inclusion of text as an element that is tended as a departure point for the viewer. I am interested in taking the viewer on a journey, with the intention of self discovery through
the process of making connection through visual and written elements.
My exploration of process has been centred in the incorporation of fibre into printmaking practise. This exploration began in 1999 with the “Emblematura Prints” that I created for the traveling exhibition Fine Art and Haute Couture: Marriage of Power and Control.
Richard grew up within a stones throw of Hadrian's Wall and Lanercost Priory and these two ancient monuments instilled in him a passion for the past. He also developed a love of the countryside around him and in particular for the trees that are so much a part of the north Cumbrian landscape.
Richard trained as an Art Historian at Manchester University and now lives by Morecambe Bay but works amongst the Lake District fells.
Richard's work is inspired by the printmakers of the early twentieth century, including Ralph Middleton Todd, Claire Leighton and Charles Tunnicliffe and he is still fascinated by Cumbrian landscape.
“Being in a garden surrounded by plants nearly as tall as me is my earliest recollection and awareness of my place in the natural world. In making prints I look to recapture that original fresh vision.
I work out of doors as much as possible, drawing most days and I print on a Hughes and Kimber Star Press where I live on Dartmoor, exploring different techniques, inks and papers. Since studying Rembrandt’s etchings at University I have been fascinated by intaglio printmaking and through practice, I find that the mysteries of this alchemic medium gradually reveal themselves.”
Lucy is based in the Peak District. Her work can be seen in local galleries and she exhibits at shows across the country. Lucy studied Graphic Design and Illustration and then pursued a career as a puppet animator, animating for the award winning company Cosgrove Hall Films, Manchester.
During this time she discovered her passion for printmaking. She uses various print techniques; etching gives her images a depth of texture, while her screen printed images provide graphic quality. Her work conveys the love she has for all living creatures, capturing the unique personalities and humour she sees in them.
“I have worked professionally as a printmaker for over twenty years creating etchings and aquatints, which reflect my architectural training and my interest in the inner city and familiar parts of countryside. I started with an evening class which I left after completing all possible levels. At that point I set up a studio in my house.
My prints are preoccupied with repetitive pattern, they are small narratives in which different elements meet and interact. I am attracted to the unusual in the midst of the everyday. I hope to avoid sentimentality but to focus on the quirky and irregular.” .
Ruth Green is a screenprinter based in Birmingham. Her brightly coloured compositions are inspired by mid-century design, and by the animals and plants of the British countryside.
High quality paper is used to make prints in small, collectable editions. Each one is hand signed, and numbered.
Ruth's work has been published as a range of greetings cards by Cardmix. The prints have appeared in 'Elle Decoration' and the design book,' Print and Pattern 2'. In 2011, Tate Publishing produced Ruth's first book for children, 'Noisy Neighbours'. She is currently working on her second book, 'Stanley's Plan' with Tate, due for release in 2015.
Katsunori Hamanishi was born in Hokkaido, Japan in 1949. He is one of the world's leading mezzotint artists – a printmaking technique noted for achieving wonderfully subtle lighting effects but also one of the most exacting and time consuming printing processes. Hamanishi delights in the smallest details of nature and traditional daily life – a window, stalks and grains of rice, the corner of a garden.
Hamanishi has won numerous awards, including the Ibiza International Print Biennial and the Valparaiso International Exhibition in Chile. His work has been exhibited in Philadelphia, Tokyo, Belgium, Kyoto, San Francisco and Paris and is in the permanent collections at The Art Institute of Chicago, Metropolitan Museum of Art, New York Museum of Modern Art, The Library of Congress and The Krakow National Museum.
The recurring inspiration for my work is the flora and fauna of the British countryside. My studio looks out over the Rutland landscape; the view is of sheep fields and English farmland,this is often represented in the work along with British birds.Birds have been represented in the work for the last 25 years. Thomas Hardy referred to birds as “persistentintermits” - moments of nature in all its many forms that can be experienced in a very personal form.
My print work is in lino and vinyl which I combined this with papercut stencil and waterbased silkscreen printing
“My work consists of limited edition silk screen prints, taken from original drawings, depicting local scenes.
Having been reintroduced to drawing and printing in 2011, I now combine my work with passion for travel and curiosity for my surroundings. I aim to inspire exploration and evoke memories, whilst viewing my subjects in such a way that it feels like they have just been discovered. .
In 2013 I was awarded The Curzon Exhibition Award at the New Lights Art Prize and in 2014 I was awarded People’s Choice Flourish Award, for Excellence in Printmaking in Yorkshire.” .
John Heywood is interested in the romantic or magical in everyday scenes. He studied art at Lancaster before graduating with a B.A. Hons degree and moving to Edinburgh in 1979. The city offers ample opportunity for drawing on romantic vistas and athmospheric streets and closes.
Born Carlisle 1940. Carlisle College of Art 1956 - 61 Painting N.D.D. R.A. Schools graduating Dip R.A.S, 1961- 64. Awarded an Abbey Minor Scholarship in Painting 1965.
“Trained and practiced as a painter, I have since 1981 concentrated on relief printmaking as the medium where I could best explore my interest in chromatic colour, in multiples. Particularly I find interesting the restrictions of the reduction method of making prints. I moved on from making large lino prints using this method, to engraving small endgrain wood blocks and find enormous interest in the necessary forward planning of area and colour.”
A Nottingham based artist. Specialising in Print Making. Travelling to new environments sparks off new and exciting ideas for my work. The dynamic shapes, vibrant colours and natural forms that appear within a landscape inspire me. I recapture the sense of space depth and atmosphere and interpret it in my own unique style. I do not try to reproduce what I see in front of me in a photographic way, however I use nature as a starting point.
I like the idea that a print can be almost a dream world where the viewer can be transported. I like to feel I am producing a starting point, and it's the viewer who can then impose ideas and interpret the print to remind them of places they have experienced. I feel using the screen-printing process provides this as well as individuality and experimentation giving each print a unique look and personality. Due to the techniques I use to create my work, each piece cannot be reproduced. Therefore, although each piece is derived from the same initial idea, each piece is unique and completely individual.
Printmakers, Rebecca Vincent and Carol Nunan set up Horsley Printmakers 2004. It is a thriving printmaking studio based at The Hearth Arts Centre in Horsley, Northumberland where Rebecca and Carol make and sell their own original and limited edition prints and teach printmaking workshops in a wide variety of printmaking media.
Horsley Printmakers tutors and students exhibit annually at The Biscuit Factory in Newcastle with a great deal of success. The Hearth, a converted 17th century manse and 19th century schoolrooms, plays host to eight artists’ studios and a coffee shop. It is roughly half way between Newcastle-upon-Tyne and Hexham.
Printmaking is integral to my art practice; its means provide a vocabulary of mark-making midway between the painterly and the graphic which simply cannot be produced through other media.
Current projects utilise drypoint, collagraph and monotype techniques. Subjects range from studies of the human figure in extremis, through directly observed landscape, to “Nemesis”; a meditation on the nature of menace and paranoia through the juxtaposition of visual discords.
Jennie studied fine art specialising in printmaking at Croydon College and Wimbledon School of Art where she gained a Masters Degree.
Five years ago she set up her own studio space and prints her linocuts on a Victorian press. Her work is influenced largely by the urban environment, with the familiar and the way space is taken up, and an interest in architecture.
Although brought up in Scotland she has lived near London for the past 30 years and this has been an influence on much of work. She is a member of Greenwich Printmakers, Richmond Printmakers and the Skylark Galleries in London.
Modern media systematically bombards us with images of women who are representing the face of beauty.
The creation of Photo editing software means that these images are often virtual . Thus creating a social norm of beauty that is far from attainable. ....unless one goes under the knife. Cosmetic surgery has evolved, we have arrived at a new era.
An era; where with monthly installments, any women, in nearly any economic situation can “for £77 a month have the breasts she has always wanted ....”
Working with various media, Amy Douglas’s work tries to address this ever increasing rise in society’s false image of beauty. The feminist message is clear, we are not to be bamboozled by this virtual reality. These images of women are not true or positive role models for our future generation of girls. Amy has recently made 2 short films "SLAP" and "Do me a favour break my nose", which will be shown at Camberwell collage of Art for the MA Degree show.
Jane Sampson is an artist /printmaker with a special interest in photographic imaging. Her unique style incorporates paint and pigment collage and textiles
Her passion for printmaking is apparent in her practice and she promotes the use of printmaking as a graphic art form without boundaries.
In 2000 she set up and co-directed Brighton’s first open access print workshop, Brighton Independent Printmaking, subsequently Ink Spot Press, which she runs with Amy Douglas.
She exhibits regularly, currently showing with Bellis Gallery in Brighton and with Liberty Gallery at Art Fairs all over the country. She has recently shown in the Netherlands at Gallery Frank Tall and in Dubai with Showcase Gallery.
Bridget Jones works in architectural glass and print to commission. Her designs weave together image, pattern, and colour.
Born in Glasgow, she studied zoology, and worked in university teaching and museum education. After a degree in art & design she set up her studio in Newcastle in 1988. She has worked on major glass commissions including the National Glass Centre, Edinburgh City Chambers, and Ripon Cathedral. She has worked collaboratively with writers, designers, and artists.
As well as work in glass she has also designed for stone, metal, paper and textiles. Her practice centres on printmaking. She has exhibited nationally.
As an artist-printmaker, John specialises in figurative colour linoprints, deriving his subjects from a wide variety of sources, including his coastal and moorland surroundings. He is currently working on a suite of twelve 'Zodiac' prints, based directly on 13th century stained-glass imagery in France.
He uses the 'reduction-block' method of printing, by which the linoblock is systematically cut or etched away between each different colour stage of overprinting. Only one complete print edition of each image is possible with this system.
He uses an 1840 'Albion' platen press to produce his prints.
Based in South East London, Katherine completed a degree in Printmaking at Cambridge School of Art before studying for an MA in Fine Art Printmaking at Camberwell College of Art. In 2007 she was awarded the research fellowship in printmaking at the City and Guilds of London Art School and has won numerous awards over recent years including the Birgit Skiold Memorial Trust Award of Excellence 2010 and the International Print Biennale Solution Group Prize 2009. Katherine was shortlisted for this year’s prestigious Arts Fellowship Foundation Award in Printmaking.
The tension between safety and danger, security and vulnerability, are a central focus of Katherine’s work. The flexibility of her chosen medium, collagraph, allows her to continually add and subtract colour and contrast from the plate or block until, after a lengthy proofing process, she arrives at the finished piece. Her printmaking methods are often experimental and for her there is nothing rigid about the process of print.
My current work is inspired by maps of my local West Wales landscape in combination with aspects of its industrial archaeology. Chine collé techniques are used to combine text and printed matter with collagraphs to produce multi layered prints.
Some prints are cut, shaped and collaged together to reflect the patterns of field boundaries or traditional Welsh patchwork. Stitch further enriches the surface, weaving additional meaning into the artworks.
Lynn Kirkley studied illustration for her degree in Manchester and then became an art teacher in a high school. She moved into special education needs and prison before working in further adult education. She presently manages the Art and Craft provision for Bury Libraries and Adult Learning Service.
This body of work is a range of images featuring, AP (artist proof’s) and limited edition Collagraph Prints, Screen Prints Etchings and Mono-Prints which have been printed on paper and fabric, embellished with either silver or gold leaf, fabric or embroidery techniques.
Based at Hot Bed Press Print Studio in Salford, I work as both Painter and Printmaker. I continue to explore themes of family life, relying on family photographs and cine film as a launch pad. I strive to maintain an artistic open mindedness, a versatility of approach and a constant creative enquiry to express in visual language, matters of family significance.
In my printmaking and painting I adopt a multi-layered approach to help signify layers of personal history, each layer making a contribution to whom we ultimately become. In recent years I have worked predominantly using the ‘Gum Arabic Transfer’ print process, in combination with chine collé and monoprinting.
Most recently, I am using the ‘Solar Plate’ Print making process to bring fresh possibilities to my practice.
Living in Cumbria makes it difficult to avoid being influenced by the landscape although I enjoy walking, it is impossible not to notice the sheep and how closely their life cycle follows the seasons - nothing other than death and sex. These prints show three of the twelve months: December ewes have all been “tupped”, and the future is sealed. January is a battle with the elements. July brings shearing and again the animals lose individuality.
These reduction lino prints are made on a C19th Columbian press. The restricted colours complement the theme, avoiding sentimentalising in a clichéd subject. To achieve these elusive moods, each print consists of several overprints of transparent inks.
Tracy gained a B.A(Hons) degree in Fine Art in 1986 and is a painter and printmaker working full time from her studio in Arnside, South Lakeland.
She works with a variety of media, including some collaged materials such as silver leaf, with original and experimental techniques. The majority of her printmaking explores monoprint, linoprint and carborundum, combining print and painterly elements. Each print produced is a unique, original work.
Tracy’s paintings and original prints are widely exhibited throughout the U.K and she has won awards and prizes including First Prize in the Cumbria Open 09.
Norfolk based printmaker Angie Lewin studied BA (Hons) Fine Art Printmaking at Central St. Martins College of Art and Design between 1983 and 1986, followed by a year's part-time postgraduate printmaking at Camberwell School of Arts and Crafts. She has worked in a range of printmaking techniques including lithography, silkscreen and etching. More recently she has concentrated on lino, woodcut and wood engraving. Angie is also well known for her textile designs and a range of greetings cards, based on her prints, which are stocked throughout the UK.
I was brought up in Ulverston, moving to the north-east for college, and returning to live in Cumbria to raise my family.
My current work originates from looking at ancient artifacts in museums, and associations with the spread of early civilisation. I also enjoy observing birds and producing lino-prints. My painting practice centres on still life and landscape, influences include Mary Newcomb.
I work in schools and the museum service offering workshops and residencies, including projects for Creative Futures Cumbria.
In the past 5 years I have returned to print making. However, these recent prints are all dry point/carborundum and all low editions (max 20). I was awarded The Trevelyan Award prize at Originals ’08 and the Arts Club Award at Originals ’09. ‘Originals’ is the top print maker competition held at The Mall Gallery in London. I entered The Royal Academy West of England (RWA) International Open Print Exhibition and was awarded The Intaglio prize for one of the three prints that I entered. In 2010 I entered a print in The Eastern Open and it was selected best print in show, also in this year I had a print selected for Royal Academy Summer Exhibition as well as being selected for the Royal West of England Autumn Exhibition. In 2011 the renamed Originals now called BITE selected one of my prints at The Mall Gallery.
Andy Lovell was born in east London. He studied at Liverpool School of Art and Design (1983-86) where he specialised in illustration and printmaking. He has had numerous commissions for newspapers, magazines and books.
He has regular exhibitions of his prints (mainly monotypes and silkscreen prints), which have become the main focus of his work.
Drawing and painting from life form the starting point for his images which are then honed, simplified and transformed through print.
Christopher McHugh is based in Gateshead and specialises in printmaking and ceramics. Inspired by his background in archaeology and his time spent living in Japan, Christopher’s art is concerned with the passage of time and its imprint on the material world. Currently, he is working on a doctoral project in conjunction with the University of Sunderland and the Sunderland Museum & Winter Gardens which, taking historic Sunderland lustre pottery as inspiration, aims to explore through the medium of printed ceramics the relationship between the artist, the community and the museum. Works on paper and printed ceramic objects will be displayed.
"My current work continues the themes of my recently completed MA these being the dynamic between the viewer’s imagination, the spaces they experience and the manner in which darkness changes our understanding of a space. The forest acts as a great vehicle for me to explore these ideas. As the spaces is so embedded in our culture and history my process involves the printing and then re printing of intaglio etching plates, this fragments the imagery creating spaces that sit between photographic and abstract.”
After Art Foundation in Brighton I studied English at Oxford. I emerged from this slow-grown and tangled forest of words and found Oxford Printmakers’ Co-op, and wordlessly returned to explore that forest and catch a glimpse of the white hart within. I chose etching with its deep blacks and glowing, darkened whites.
Working the metal plate to give pencil marks or layered shadows is endlessly fascinating. I seek a single charmed moment out of time, a magical vision that stills. The scene is our ancient and enchanted landscape, amid briars that guard or rend, in forests that nurture or bewilder.
An early career in architecture and a fascination with the built form has influenced the majority of my artistic output. Initially the approach has been purely representational, producing images of buildings within their urban environment or individually observed, detached and depicted as a unique form in itself.
Spending a number of years in professional practice has influenced my approach as an artist. There has always been a tendency towards traditional skills, particularly drawing and draughtsmanship based on observations. Meticulous attention to detail within the overall composition is an integral part of the process. Most of the works are essentially a stab at addressing the nature of architecture. Appreciating the beauty of proportion and detail and considering how time affects the built form.
“Inspired by my immediate surroundings, finding beauty in things that could easily be ignored, it is important for me to work from life and to observe in depth in order to develop an intimate relationship with my subject matter.
As an etcher I enjoy the physical processes of working on the etching plate, the infinite possibilities of etching methods, the beautiful qualities of line and tone that can be achieved and finally the actual printing of the plate. It is often a slow and contemplative process and I use many layers, finding harmony between technique and subject matter.”
Hannah McVicar is an illustrator and printmaker. She produces floral illustrations for books, magazines and packaging, alongside exhibiting her vibrant and colourful screenprints all over the UK and internationally. Her illustrations were recently compared to William Morris in a review in the New York Times. Hannah has worked for a variety of clients including, The Times newspaper, Gardens Illustrated magazine and Ebury Publishing.
Her floral illustrations and prints are influenced by her childhood and from helping her parents at the major RHS flower shows, including the Chelsea Flower Show and Hampton Court Flower Show. After graduating from Falmouth College of Art, in 2004, Hannah has continued to develop her style and technique using the medium of screenprinting. She regularly teaches screenprinting classes, sharing her passion for this medium with others.
I originally trained at the London College of Printing as a Graphic Designer but have spent most of my working life as an Illustrator.
Three years ago following the ups and downs of Illustrating in the publishing world I rediscovered Etching and the freedom from the constraints of deadlines. Enjoying the whole process from the alchemy of the etch to the beautiful linear quality that can be achieved. I see it as an extension of the drawing producing both bold and delicate line, cross hatching and brooding shadows and depth. Many of the themes and threads running through the work stem from my time illustrating books. Hints of folk tales, characters from poems and my own archives can be found, also I hope my love of nature, place and creatures – especially dogs! I enjoy using etching as a means of conveying humour and narrative. I see my prints as illustrations telling a story. I add watercolour washes to my work for emphasis and the hand finished element it can add.
Working from her beautiful studio in Somerset, Julia’s printmaking blends a variety of relief and intaglio techniques, predominantly printing onto Somerset Printmaking paper. Her passion for printmaking is as much about these physical processes and the craft as it is about the art.
The rich assortment of flora and fauna on display in the local region shapes the inspiration for much of Julia’s work. Often found with binoculars or telescope in hand, Julia seeks to observe scenarios and interactions between birds and animals - whether it be an exchange of glances or the movement of a bird in flight; she instinctively interprets a fleeting moment in sketch and then later re-interprets in print. Her depth of knowledge and appreciation for her subject matter is palpable and adds to the vibrancy and animation of her prints.
Julia is a member of the Society of Wildlife Artists, Royal Society of Painter Printmakers and the Devon Guild of Craftsmen.
Pete began painting and printmaking again in September 2009 following the discovery that an old friend and artist, Garry, had died. Feeling compelled to produce his own work again for the first time in nearly twenty years, Pete is exhibiting and selling once again.
He feels his work is perceptual rather than conceptual, emotional rather than intellectual and he prefers expression over realism, subtlety over sensationalism, substance over novelty and intuition over reason.
Pete’s work is held in private collections in the U. K., Canada and Australia.
I've been a printmaker for over30 years, specialising in etchings and mezzotints. I am fortunate to live and work in wonderful surroundings near Plymouth beside Hooe Lake. Much of my subject matter are sea creatures that have come from childhood memories- a visit to the wonderful Musee Oceanographic in Monaco and family holidays in North Cornwall , rockpooling and crabbing.
I am also drawn to other unusual none fishy creatures, including Armadillos and Dodos- sales of which go to help EDGE, a ZSL conservation project. I continue to support Project Seahorse and other marine conservation organisations which are very important to me.
Emerson Mayes is a Yorkshire born artist who has experienced that rarest of things: success - both critical and commercial. He enjoys a growing reputation for a fresh, honest and uncontrived approach to his work. Through printmaking, Emerson's work reflects his passion for British wildlife.
Winning the Young Artist of the Year Award in 1995 was the first of a number of major awards he has received. This, together with successful shows across the country and in London, has resulted in Emerson having an ever-growing number of loyal collectors; including The National Trust and The House of Lords.
Pauline Meade studied Graphic Arts and Printmaking at Leeds Metropolitan University. She works mainly from her home studio in West Yorkshire and has been printmaking for the last 18 years.
My work is mainly inspired by landscape and the natural environment, especially of the fells and flora of the north Pennines and Lake District. Some recent images are from the inspirational landscape and culture of Nepal. I start from watercolour studies made directly from the subject and develop prints from these in my studio. The linoprints are made using several layers of transparent oil based colours which gradually build up the final image. Printmaking is a fascinating and variable way of working and I also use monoprint and collagraph techniques, as well as black and white aquatint etching.
Mitchell’s work is rooted in the traditional process of intaglio & relief printmaking. Producing without nostalgia or sentimentality, acclaimed tonal landscapes.
“For me art is combining the aesthetics of the image and the dexterity of the craft skills of the artist. For me this is best exemplified in the techniques of printmaking especially Mezzotint.” Mitchell has won major international arts prizes and his work is held in public and private collections through out Britain and abroad.
Stephanie studied Printmaking at Gray's School of Art, graduating in 1995 and is now a member of Edinburgh Printmakers. She combines vivid colours, texture and flowing line to produce delicate collagraph prints, using handmade papers to add depth and complement the organic shapes that inspire her.
Lisa Moore is a painter and printmaker based at Neoartists Studios and Print Workshop in Bolton, Lancashire.
Her work has always been autobiographical - a visual exploration of her feelings and a reflection of where her life is at any given moment.
Her work is generally figurative and she experiments with many printmaking techniques including solar plate etching, acid etching, drypoint, collagraph, monotype and linocut. She finds the often random and spontaneous results produced with printmaking to be exciting and a perfect way of representing the complexities of everyday life.
Her work has most recently been exhibited as part of the prestigious Ruth Borchard Self Portrait Exhibition in London.
I am a printmaker living and working in Bristol. I firmly believe that animals live a secret life that we are unaware of and much of my work reflects this. I like to mix bold, flat colour with areas of pattern and drawing.
I am co-founder of the co-operative Fig, a gallery/shop in North Bristol. I was lucky enough to be commissioned by Marks and Spencer to illustrate their Easter confectionery this year; i even feature on the chocolate lollies!
For 2010 my work will revolve around large woodcuts, printed on fine rice paper, based on my stay in China in the studio of Master Woodblock Printer Xiang Silou. Also my connection with the inspirational work of the Macedonian Printmaker Ivanco Talevski combined with the belief that art can only be appreciated by individual interaction, an uncontrived honesty, the interpersonal relationship, tells me that it is not the talking about it – it is the doing of it.
My parents enthusiasm for fell-walking helped to instil a fascination for landscape as subject which dominates my work. In the 'sixth form' I was introduced to etching, which alongside watercolour and pastel has since been my chosen medium. After art college I supplied galleries on Tyneside and in Cumbria with prints before opening my own gallery, Skylark Studio in Cockermouth in 1994. I tend to use two colours, warm and cool, to ink up my aquatints to enhance an impression of light and shade, also adding uniqueness to each print.
I am a printmaker based in Derbyshire. Inspiration for my lino-cuts comes from social situations and local landscape, particularly the historical architecture. I use the wonderful old Albion presses at Hot Bed Press (Salford) to print the images, and have recently been involved in the HBP 20:20 Print Exchange. I usually exhibit my work around Derbyshire.
Painter and printmaker Jila Peacock was born in Iran and graduated in painting from St Martin’s School of Art in 1984. Moving to Glasgow in 1990, she has been a part-time lecturer in the Glasgow School of Art and a member of the Glasgow Print Studio where she exhibits regularly.
Her most recent work, images of waves inspired by Anglo- Saxon words describing sea conditions Seven Seas, were shown as a solo show at the Glasgow Print Studio in March 2010 and at the Bonhoga gallery Shetland in May 2011.Her monoprints series the Seafarer (2000) based on the Anglo-Saxon poem, are in the collection of the Fitzwilliam Museum, Cambridge.
In 2003-4, with an award from the AHRC fron Cambridge university, she made a hand printed edition of an Artists book Ten poems from Hafez, exhibited at the Fitzwilliam Museum in 2005 and the British Museum exhibition, Word into Art, in 2006.
Her silk-screen print of a Persian shape poem Horse, is to be displayed at the forthcoming Olympic Equestrian exhibition at the British Museum from May–September 2012.
Mark grew up in Cumbria, trained at Carlisle College of Art and then The Norwich School of Art. Mark went on to a successful career as creative director of his own brand identity consultancy in London. Now living and working in Ravenglass, he works in several media, watercolour, gouache, pastels, and oils as well as making limited edition reduction wood and linocuts. Marks use of colour and light is inspired by the panoramic views from his studio where, each piece of work records a specific time and place, capturing an unusual or memorable effect of light and colour.
Tessa Pearson studied Printed Textile design at UCA Farnham and the Royal College of Art, and following a successful career painting fabric she has for the past ten years worked exclusively on paper creating bold abstract prints, mostly monotypes richly textured with elements of collage, hand painting and woodblock printed imagery.
Renowned for her exceptional use of colour, recent work has evolved from sketches of textures and rhythms experienced in inspirational gardens and interpreted in her very recognisable style.
Now living and working in the Surrey Hills, Tessa exhibits work at art fairs and galleries across the UK and Internationally.
I live in Oxford and specialise in copper plate etching, I love the strength of line and subtlety of aquatint that can be achieved. I have exhibited in the Mall Galleries Originals show, RBSA print exhibition as well as various other venues.
I exhibit annually at the Affordable Art Fair. I have completed a 42 plate commission for the Oxford Radcliffe Hospital Trust and have work in the collection of the Ashmolean Museum, Guys and St Thomas' Hospital and the John Radcliffe Hospital. I am inspired by places I visit on my travels and enjoy making images of animals and birds.
“I am fascinated by the different atmospheres that light creates in both our rural and urban environments. My most recent work draws inspiration from my immediate surroundings; including my own home, and the urban scenery of Durham.
My compositions aim to combine different moods of light, with contrasting space and surface qualities. I rarely start with line, but instead focus on the highlights within an image, and so create the composition by concentrating on the areas that will remain light, instead of building up the image with dark tones.”
“I am the artist in residence and founder/director of Smart Gallery (Social Museum & Art Gallery), an Arts Council funded project that I developed where I invite the public to temporarily loan objects that they would like to see in a museum collection and I make contemporary linocuts inspired by these objects. This project was developed after an extensive residency with Craven Museum & Gallery and my ongoing love of objects, their stories, histories and their association to our emotions. Both the project and the resulting artwork have been nominated and won awards, with judges’ commendations at both The Flourish Award, printmaker of the year and Open Up North. I also have a new position at Leeds City Art Gallery as their Artist Ambassador.”
Trevor Price specialises in drypoints and etchings that are handmade and hand printed from studios in St.Ives and London.
The artworks by Trevor usually represent the intimacy between a couple, sometimes romantic, sometimes erotic and often humorous. Artistic influences include Picasso, Freda Kahlo, Ben Nicholson and Cecil Collins. Location can also be a big influence in the work, and his Cornish roots often feature.
My work is of a colourful and humorous nature. I include narrative and story telling in my prints. I use sketchbooks as a visual diary and develop my images from this and my interest in ecology and wildlife. I have specialised in print making but also run a community based arts programme called rural mural community arts. I am currently developing new work about the natural world based around the coastline and other regions in Britain. This work also includes an underlying narrative about humanity.
Jo has worked as a freelance illustrator and printmaker since graduating from Manchester Metropolitan University, where she studied Fine Art. Her drypoint and chine collé prints are inspired by interiors and the aesthetics of everyday objects – from a still-life on a window sill to the eclectic contents of a drawer. She incorporates fragments of collaged papers into the prints, from old stamps to vintage paper bags, to create an interesting textured background and a sense of history to each picture.
The Regional Print Centre is a joint partnership between Yale College of Wrexham and the Arts Council of Wales. Since 2002 we have been offering open access facilities to printmakers across Wales and beyond. The work on show at Printfest is a selection of work by our members.
Wrexham is a town located in the historic borderlands between Wales and England. Within a couple of hours you can travel through rolling countryside, into the mountains of Snowdonia and down to the beautiful coast. We are also not far from the historic cities of Chester and Shrewsbury, and beyond, Liverpool and Manchester are international centres of creative and cultural life. We offer a regular programme of opportunities at the centre including our Professional Printmaking Programme, a range of courses and workshops led by national and international printmakers and a summer school.
Simon makes colourful abstracted monotypes on handmade Japanese papers using an 1850’s Columbian press - one of the first Iron printing presses ever made. He is the founder of Exeter’s Double Elephant Print Workshop and he teaches printmaking in schools throughout the South West. His work emerges from simple sketched drawings that make reference to real objects in the world around us: an element of the landscape, a domestic object, an iconic form. These prints are exciting and thought provoking and raises questions about the way that we see the world in different ways.
Gayle Robinson grew up in Glasgow, attending Grays School of Art, Aberdeen studying Fine Art Printmaking. She then went onto do her MA at Duncan of Jordanstone, Dundee.
Gayle specializes in collograph printmaking which she finds the perfect technique to recreate the texture, form and linear quality found in within her prints. She uses familiar sights within nature such as trees, field patterns and the changing of seasons as her main source of inspiration.
I work with vinyl-lino and the natural things that surround me. Much of my inspiration comes from hedgerows – the chaotic tangle of plants they hide have a special appeal as ever-changing, living sculptures.
Through drawing I ‘get to know’ each plant and the features that describe their form. I enjoy the challenge of translating pen-line to print without the distraction of colour.
I am now exploring the use of pattern and texture within my botanical designs
"My etchings can be described as semi-abstract imaginative ‘worlds’. I start with a loose idea for an image, clarifying it through drawing but the real development starts with working on the plate, pushing the initial idea through to a conclusion. The resulting imagery is never a representation of the circumstance or object that inspired it, but an improvisation of my initial idea, becoming ‘a world in its own right’. With my imagery I aim to inspire an observer’s own imagination to find their own individual ‘picture’.
Our studio in Brighton has used the Acrylic Resist etching technique since 2009."
Shenac Rogerson (pronounced 'Shee-na') originally trained as a graphic designer, now she spends her time creating art, rather than producing artwork!
Shenac uses her own family as inspiration for some of her linocuts, capturing those incidental, intimate everyday moments of life, which so often go unnoticed & unappreciated.
Exploring the landscape Shenac simplifies what she sees into blocks of colour and line, giving form to the rhythms and patterns which capture her attention, creating clean, spacious compositions with dynamic statements of colour.
Shenac is an associate member of the Royal Birmingham Society of Artists and a member of the Leicester Society of Artists.
I find printmaking to be an exciting art form, one in which the process is as rewarding as the end result. My most recent work consists of monotypes of images from the Mediterranean, Greece and from Southern Spain.
Journeys have taken me to many countries and diverse cultures, rewarding me with incredible experiences. The Mediterranean is my inspiration, and I am continually seeing potential prints in my travels and in everyday life - the quality of the light through a window, or the rhythm of shapes and shadows in the landscape. I have a highly visual memory, and images from the past can inspire a print long after the event.
People have asked me how I relate to my work and after much thought I guess I would say that it represents: inquiry, observation and reflection. I begin with a sketch and later transpose my image to graphic form. Graphic techniques that I generally use remain the same time-honoured ones I learnt at Liverpool University in the eighties: Lino-cut, Monotype, screenprinting and etching.
Jane is a graduate of Exeter University and the Barber Institute, Birmingham. She studied Printmaking in the 1980’s, researching photographic techniques for Brighton University.
Well known for teaching printmaking in her own studio, Inkspot Press, she has received Arts Council awards for her work. Most recently she won the John Purcell prize at the RE London.
Jane creates prints that contain a narrative using collage drawn from many different sources both found and personal. This library of iconography is constantly being re-used and manipulated. The use of texture, colour and layering is central to her work.
“I am printmaker from Rutland producing mainly collagraphs with watercolour detail. I also make screen and carborundum prints, often using more than one process to get the result I am looking for. An active member of the excellent Leicester Print Workshop, I use their beautiful old presses to make my larger work. My prints are inspired by the rolling Rutland countryside and my trips to the coast.”
Food plays a central role within my work with desire and temptation being the underpinning themes. I am interested in food for entertainment, pleasure and anticipation, along with the enjoyment of indulgence and guilty pleasures. Cakes along with a collection of crockery and tableware have been the focus of recent prints.
Drawing is an important element of my practice. I have been exploring colour and colour combinations through making and printing shaped collagraph plates. I am interested in the process of experimenting and combining different printmaking techniques and work with a variety of different processes.
South Bank Printmakers is a co-operative exhibiting society of 37 contemporary printmakers; based in a small gallery which is situated in Gabriel’s Wharf, a lively area by the river Thames. The group prides itself on the broad variety of print techniques practiced by the artists, including etching, lino-cut, woodcut, mezzotint, lithography, and monoprint – and combinations of all these. The artists represented in this display are Jim Anderson; Lucie Green; Aimee Birnbaum; Colin Moore; Clare Grossman; and Jenny Ronay.
I am inspired by the incredible beauty of the English Lake District which is where I and my family have lived 'in splendid isolation' in a tiny cottage atop a hill in the Langdales for fifteen years.
It would be a cold heart that could fail to be moved by the changing colours and moods of this place. I like to hone in on the minutiae of things and it is the beauty in the detail that I try to capture in the printworks. I aim to evoke an up-close experience of place- be that a hedgerow, vegetable patch or garden wall clad with climbers. As William Blake wrote, ‘Nature and Art in this together suit What is Most Grand is always most Minute’. I enjoy taking more of a painter's approach when it comes to colour,preferring to apply several colours directly to the same block and using no more than two blocks to make a single print. I enjoy the spontaneity this method of working with colour affords and the variety of effects it creates. This also makes each print within the edition quite distinct. I print by hand and use oil based inks on Japanese paper.
“First and foremost, my artwork is all about the drawing. All work starts with a drawing and with each drawing I aim to loosen the line and overall style of the artwork. With a passion for traditional architecture, particularly Victorian, Gothic, Georgian and Baroque, it is inevitable that I find myself in Edinburgh with Europe on its doorstep where there is endless supply of inspiration.
I like to combine the drawings with that of texture and handwritten text, to give the overall finished piece a rawness that you would usually find in a sketchbook. Textures such as wall rubbings, Victorian fabric pattern, graphic pattern found on the linings of envelopes, and collage material, sometimes even photographic snippets.
I combine all of the above in the medium of Silkscreen print, where any mark can be transferred to the screen and printed. This allows me the freedom and endless opportunity to combine a range of mark making with found textures and handwritten text, all into the one image. Screen printing has become my passion and main method of art making.”
Alan Stones began making lithographs after winning a Gulbenkian Foundation Award in 1985 to experiment in printmaking. A decade later, after a three month residency in the vast open spaces of the Falkland Islands, his prints became much more minimal. Since then, he has published a great many editions from his printmaking studio in the Eden Valley in the heart of Cumbria.
Alan graduated in Fine Art from St. Martin’s School of Art, London in 1971. He has exhibited widely, both throughout Britain and Europe, and his work can be seen in many UK public collections.
I am a Textile Artist based in West Yorkshire specialising primarily in ‘devore’ – an etching process for fabric. A recent Arts Council grant allowed me to expand my practice and explore new techniques in conjunction with textiles. Print making was an obvious draw.
‘NEW GROUNDS’ plays with collographic print on felt with dyes and stitch. Images highlight overlooked corners, broken edges and disjointed lines. Felt is resilient to the pressures of the press these protective qualities are alluring and comforting.
I work from my garden studio, on the edge of the Bowland Fells and at the contemporary print studios at the University of Central Lancashire, Preston. My recent work is focussed on utilising the natural world and exploiting its shapes, textures and boundaries to use metaphorically in exploring universal human issues such as attachment, relatedness and separateness; I continue to have an interest in human psychology. I often use several plates, and my works are therefore like several prints on top of each other and are often 'one-off's' or are in very small variable editions.
I was born in Glasgow in 1944 and visited most points between Paisley and Shanghai before the age of 5. In 1997 I retired after over 30 years working in Education. For 13 years I lived in Cumbria where I took up etching and exhibited in local Galleries including a one man show at Abbot Hall in Kendal. After moving to Dover, I continued to make prints and since retirement have begun to exhibit again. I returned to Cumbria in 2003. I now mainly work with aquatint in which my youthful flirtation with abstraction informs my reaction to landscape.
Laine Tomkinson is a fine art printmaker based in the East Midlands. Her printmaking practice has developed over thirty years, experimenting with all aspects of printmaking and painting, now specializing in silkscreen and mono-print processes. In mid-2011 she was elected as a member of the Printmaking Council, which showcases contemporary British printmaking nationally and worldwide. In recent times she has been the artist in residence at Leicester Print workshop and shown prints in over twelve countrywide exhibitions, including the national touring Printmakers Council 8TH International Exhibition and Contemporary Printmaking now at Dorchester Abbey featuring works by selected current printmakers.
In 2013 she exhibited at Printfest and Brighton Art fair, she relished the opportunity to engage with other makers and people who love printmaking. Laine is represented by several contemporary art galleries in England and Wales, two of which have offered her one person shows in late 2014.
“In my work, I create imaginary scenes filled with the patterns of nature inspired by both the Sussex countryside and the diversity of life I found whilst travelling in Africa. I am interested in looking at details of trees and plants, Indian textiles and bird encyclopaedias, and merging these sources to create patterns that celebrate the English decorative tradition.
My latest prints have been hand-made in small editions, in Brighton, using the techniques of lino-cutting and screen-printing. The use of coloured French and Indian hand-made papers has also become increasingly important to me.
Within my work as a whole, I use nature as a metaphor for human emotions.”
My main practice is in lithography, concentrating on the richness of expressive marks within this medium. I develop my prints by building up layers of colour to create a depth and intensity in deceptively simple and distilled imagery. My work has been likened to “painting in slow motion”.
I like remote environments. I seek out human markers in the landscape: a circus poster on a telegraph pole by the Arctic Sea, a kilometre marker in the Namib Desert. It’s The End Of The Road was a series of images looking at places where the road runs out; a pier collapsed into the sea, an abandoned signal station in Donegal. My last exhibition Shelter focussed on different sources of shelter, from a castle to a telephone box, including recent work from the Outer Hebrides and St Kilda.
I think that implicit in my subject matter is our desire at times to withdraw and retreat from the world whilst still needing the companionship and support of human communion.
Rosemary originally qualified as a nurse then gained a degree in Fashion and Printed Textile Design at Winchester School of Art after which she secured a place at the Royal College of Art to study Fine Art printmaking. Unable to attend due to the birth of her children she then spent the next 20 years partly as a freelance textile designer for the international bedding and furnishings market and as a staff nurse. Since 2009 she has happily been able to commit herself to life as a full time artist with increasing success and is now a regular exhibitor at several highly regarded galleries throughout the UK; a recent highlight was winning the Printmakers’ Printmaker Award at Printfest 2013.
Rosemary executes all her own small edition screenprints in her studio in the Peak District.
She feels she is instinctively a printmaker, mark making being fundamental to her work and colour and composition the predominating element over the illustrative.
“I have exhibited across Britain since graduating from Manchester Metropolitan University in 2003, and now work from my studio in Yorkshire Artspace, an award-winning complex of artists’ studios in Sheffield.
My work is abstract in nature and inspired by the circle, which I love for the contradiction of the simplicity of its form, and the complexity of the associated ideas. My circles symbolise the self, the essence of nature, my sense of wonder at the natural world and my place in it.
I work mostly with etching and embossing, and each piece is a unique, original work.”
Jane uses the reduction linocut technique to produce handmade limited edition prints - each print is created using a single block. She studied illustration and printmaking at Duncan of Jordanstone College of Art before following a career in design at the BBC. Now she has come full circle to rediscover her first love – printmaking and particularly linocuts. She is fascinated by the process which is tactile, sculptural and graphic allowing her to play with line and colour, exploring the patterns created through the relationship between forms found in the world around us – anything, from the modest coffee cup to an exotic landscape can spark off the idea for a new print.
She is a member of the Oxford Printmakers and GPC and exhibits regularly with them.
I make etchings, stained glass and paintings in oils and water colour.
Almost all my work has a narrative element and it is usually based on observation of the natural world. The inspiration comes sometimes from literature, from Shakespeare, the bible or poetry, sometimes from things I have seen or experienced, sometimes things just come into my head. It is not my main intention to illustrate, more to get a certain feeling or atmosphere across.
Beverley’s images are drawn from a combination of sketches and memory or direct studies of natural forms. The drawings are then worked until something pleasing emerges to be transferred to a block either wood for engraving or lino for cutting. The wood engraver’s tools give great scope for detail and creating texture in the task of turning a black area into something interesting.
She is part of an artist’s co-operative The Beach Hut Gallery at Kents Bank Station, Grange over Sands Cumbria LA11 7BB
I am a painter and printmaker, based in the Vale of Clwyd, North Wales. My work is generally based on day-to-day experiences, and set in the modern rural landscape, but abstracted so as to render any narrative and meaning obscure. I like to weave thoughts and internal imagery into the work, because these are part of ones reality, even whilst standing on top of a mountain. I might use an element or certain configuration as a starting point for a print. I make etchings or use a combination of drypoint, carborundum and sand to make delicate, textured collagraph plates in aluminium or card which I print using the intaglio method.
Neil Woodall has worked in printmaking for the past twenty five years. He works from a studio at Yorkshire Artspace , Sheffield, and specialises in aquatints and woodcuts. Woodall has exhibited widely throughout the British Isles and at international Biennales. He has produced several large pieces of etched steel public art work., including the panel commemorating the official opening of the Lowry Centre, Salford.
The landscape work has a strong sense of atmosphere and feeling of place due to the artist‘s use of light.
My inspiration usually derives from a sense of place exploring hidden aspects of the landscape or from memories of my past.
A sense of place has also brought me to explore the landscape of my surroundings and the changing landscape of Morecambe Bay. The landscape prints are produced using monoprint techniques sometimes combined with washed up textiles and reeds as I walk the beach. I also produce limited edition screenprints based upon colourful houses of the area and mixed media prints inspired by the ephemera of dress patterns, recipes and baking still kept from my childhood.
Fouzia’s figureless interiors and looming objects create a nostalgic ghostly atmosphere and point to traces of humanity. Her work explores the themes of memory, family histories, migration and absence. Play is a key concept for her and she is continually looking for new ways to develop and combine printing methodologies.
Fouzia graduated from the City and Guilds of London Art School in 2013 with MA Fine Arts (distinction). In 2012, whilst still studying, she was shortlisted for the Clifford Chance Postgraduate Printmaking Award. Upon graduation, she received the Gwen May Student Award, from the Royal Society of Painter-Printmakers and more recently she was awarded the 2014 Curwen Studio Award.
Recent exhibitions include The London Original Print Fair at the Royal Academy and The National Print Exhibition at the Bankside Gallery.