The Great Print Exhibition 5 – Exhibitors
Ade Adesina’s work is a visual commentary around the ideas of ecology and our ever-changing world. He is fascinated by how the human footprint is affecting our planet. Our world is full of wonderful landscapes and Ade wishes to highlight the continual damage caused through things such as deforestation, the politics of energy consumption, and endangered wild species. Ade works with woodcarving, linocut, and etching and oil, combining his African cultural roots with British culture, producing work that aims to make people reflect on the past, present and the future.
Cumbrian based artist Alan Stones began his printmaking career after he won a Gulbenkian Foundation Award to experiment in printmaking in 1984. Initially, Alan Stones’ subject was hill farming in the Northern Pennines, then in the mid-1990s after a 3-month residency on the Falkland Islands, the imagery of his lithographs became much more minimal. Alan’s work is invariably ‘to do’ with people. When depicting other subjects these are usually aspects of nature – which often stand as metaphors for human activities. In 2018 Alan became a Patron of Printfest in Ulverston, and over the last five years, Cumbria Life Magazine Culture Awards has seen Alan short-listed for the Visual Art Award.
Alexandra’s prints are mostly reduction linocuts that are impressionistic in style; aiming for colour, light, depth and detail. Using photos for reference, she makes all cutting and colour decisions as she goes along, often using her memory for colour rather than from the photograph.
Alexandra enjoys primary mixing; and only ever uses the same blue, red, yellow and white, to create new colours. Themes in her work include woodlands and trees, water and reflections and flowers and fields
Alexandra is a founding member of the Buckinghamshire Craft Guild, a best seller on the Artfinder online marketplace, and her linocuts have been displayed at the Royal Academy and Mall Galleries in London.
Angela Brookes aims to celebrate the glory of the natural world through her dry-point etchings and monoprints. She is drawn to the vast open spaces and skies with landscapes and seascapes being some of her favourite topics. She enjoys depicting the ever-changing effects of light and colour at different times of the day, and as the seasons roll through the year. Angela is a committee member of the Printmakers Council, and an elected member of Greenwich Printmakers and her work is held in private collections in UK, Spain, Germany, Sweden and the USA.
Angie Lewin depicts both the clifftops and saltmarshes of the North Norfolk coast and the Scottish Highlands and their native flora in wood engraving, linocut, silkscreen, lithograph and collage. Angie is attracted to the relationships between plant communities on an intimate level and so even the fine lines of insect eggs on a flower bud are observed in her work. Her still life’s often incorporate seedpods, grasses, flints and dried seaweed collected on walking and sketching trips. Angie has completed commissions for Penguin, Faber, Conran Octopus, Merrell and Picador and designed fabrics for Liberty.
Angus Vasili is known for his architectural infused Silkscreen prints. Driven by his passion for process, he aims to create a balance between the abstractions of printmaking and the monumental forms of modern and contemporary architecture. Weaving in screen-printing, photography, and hand-finished texture, Angus’ practice continues to evolve, ever informed by the experimental. He describes his way of working as ‘loose and intuitive’, and relies on chance accidents in an analogue technique that bring about some of the most spectacular visual instances, for a raw and dynamic contemporary aesthetic.
There is a grand simplicity to Anita Klein’s works, but they do not lack subtlety and ambiguity.
Anita wants people to see themselves and their lives in her work, and she aims to celebrate the ordinariness and the poetry of the everyday. She has been very inspired throughout her career by early Italian Renaissance painting fresco painting and she aims to create a balance that feels calming to look at but also includes the viewer by conferring dignity and beauty on the ordinary and depicting it as miraculous. Anita has work in many private and public collections in Europe, the USA and Australia, and she has had many solo exhibitions in London as well as worldwide.
Anja Percival is interested in depicting urban scenery from the area in which she lives and spaces that are infiltrated by different qualities of light. The choice of subject matter is usually quite ordinary (e.g. the inside of her own home, or the scenery she passes daily) but it’s the effect that light has within these spaces that captures her attention. Anja’s colour palette is relatively subdued as she feels that strong colour would detract the attention from the subtle tonal variations within her imagery.
Anja specialises in copperplate etching, using wax resist on aquatint, her etchings are all hand-drawn, and she does not use any photographic or digital techniques.
Anna is a Yorkshire based artist and printmaker specialising in drypoint etching and monoprint techniques but also makes collagraph and relief prints. She loves absorbing her surroundings whilst out walking with Floss the dog, paying particular attention to colour and shape. She is inspired by the world around her; beautiful skies, sheep, fields, wildlife and often slightly humorous scenes she comes across in day-to-day life.
Anna is a Scotland-based artist born in the Owl Mountains of Poland and is interested in the human condition. Influenced by her experiences of cancer, motherhood, and immigration she focuses on creativity as a tool for building community and compassion. As a member of Edinburgh Printmakers, she developed a series of screen-prints of imaginary planets, an extension of her meditations on time and existence, which are recurring themes in her artistic practice.
In her current project “Life lines” she has been working with a group of refugee women from Syria on a series of monoprint telling their stories in a poetic and relatable way. Her work has been exhibited in solo and group shows in Poland & the UK.
Anne Desmet specializes in wood engraving, linocut, lithography & mixed-media collage.
Her engravings are printed on her historic, cast-iron, Albion printing press which was made in 1859 and remains in perfect working order. Her subject matter is largely architectural, yet buildings are subject to metamorphoses relating to effects of changing light, weather and time passing. Anne aims to suggest the timeless solidity, human aspiration, humour, hubris and folly that architectural forms can convey, as well as their impermanence and vulnerability. She exhibits her prints widely, has won over 40 national and international awards and has works in major public and private collections worldwide.
Brenda Hartill has been working as a printmaker for the past 20 years, with a particular interest in etching and collagraph. She has always wanted to express the form, structure, colour and textures of the world we live in, and has an abiding interest in the primaeval, essential structure of the earth and its elements. While she aims to develop abstract images in her studio, her work is rooted in the landscape, and she often finds it necessary to return to the literal landscape to inform the shapes and colours in her abstract pieces. Brenda has also recently rediscovered the clear colour and overlaying possibilities of watercolour in her abstract works which serve to extend the vocabulary she uses.
Bronwen Sleigh makes prints, drawings and objects, taking inspiration from industrial architecture, unused and forgotten urban spaces, and environments at the edge of the city.
Her work provokes an extended and considered dialogue with these spaces, which she transforms through the processes of her practice. She aims to explore space rather than describing it, challenging perceptions of the ordinary by presenting it in an unfamiliar way.
Bronwen has worked for several arts organisations including The Royal College of Art, The Royal Academy Schools as a Print Fellow and at Edinburgh Printmakers as their etching technician and collaborating printer. She has also exhibited widely both in the UK and overseas.
Almost all of Carry Akroyd’s work is derived from walking in the landscape, her response to observations can range from a fairly specific representation to attempts to capture the remembered sensation.
Carry’s default printing technique is screen printing but she occasionally ventures into lithography. She uses cut paper stencils and sometimes paints directly onto the screen mesh. Because of this, every print has some gesture or colour that makes it unique.
Carry exhibits each year with the Society of Wildlife Artists at The Natural Eye exhibition in London and in 2016 was awarded the top Terravesta Prize for one of her large screen prints.
Cat Moore is a linocut printmaker based in Northumberland. Her work is inspired by light, storytelling, and by sudden glimpses of special moments hidden within the everyday. Most of her work is based on the world around her, though she has been known to stray into folklore. Cat will usually be found, sketchbook and camera in hand, perching on the hillsides and capturing what she loves about the landscape. Her images are made using the single, multi-block, and reduction techniques. For Cat, printmaking is an ongoing discussion between the immediacy of an image and the way it is expressed through line, marks, colour and composition.
Conveying a sense of movement and life is particularly important to Charlotte Baxter and is one of the reasons she is drawn to the coast. The tides, weather and waves provide an ever-changing subject matter, and she enjoys the challenges of trying to capture these fleeting moments in this unique landscape. Working with lino and woodcut brings exciting possibilities and challenges – most notably the unpredictable results that can be achieved through building layers, pattern and texture within her prints as she works with multiple blocks as well as the reduction method.
Charlotte works from her home studio near Aberystwyth in West Wales and exhibits regularly through Aberystwyth Printmakers.
Claire Cameron-Smith is heavily inspired by the Japanese printmaking traditions and employs Japanese tools, techniques and materials. This can be seen through the simplicity of designs and the utilisation of key block outlines. However, she is not entirely restricted to the Japanese methods and often uses western or more modern means such as vinyl for blocks, or German printmaking paper.
She has created many prints which are a modern-day version of old designs by artists such as Hiroshige and Koson and when she’s not making reprints of old designs, her works are generally based on her photography and often feature flora and fauna.
Clare Grossman works from her studio in North London and makes large-scaled monotype etchings at London Print Studios. For Clare finding an image will always involve a lot of drawing in sketchbooks, working with etching and frequently combining it with experimental monotype techniques she aims to describe the movement, an emotional response to beautiful light or the mysterious substance of shadows.
The scale of the work produced varies enormously, and most of the mixed technique monotype etchings are variable, meaning each piece is unique within the edition. Recent exhibitions have included The Masters at the Bankside in London, Woolwich Contemporary Print, Multiplied at Christie’s and a solo show at For Art Sake in Ealing.
Clare Phelan has been a full-time artist/printmaker since 2017, working from her studio in West Yorkshire. She is interested in the idea of a ‘cultural lag’ in our understanding of advancing technology, exploring the narratives around ‘man and machine’. Clare translates detailed surface information into printmaking using early coding technology artefacts such as music box discs, IBM punch cards, cardboard music box discs and pianola rolls. These artefacts have a presence and a history as the ancestors of our digital world and their textural qualities are heightened through the medium of collagraph. Clare has recently been shortlisted for the Scott Creative Arts Foundation Emerging Artist Award and the London Contemporary Art Prize 2019.
Colin Blanchard’s chosen subjects are most often those of ‘traditional’ wildlife imagery and he will sometimes incorporate his poetry as an integral part of his prints. In the early stages of thought and image manipulation, Colin will also usually use the computer as a graphic compositional tool.
Colin’s most recent prints are combinations of linocut and screen prints, usually with layers of inks of varying transparency and blended colour
Colin has been a full time practising artist for the last 8 years and was the winner of the Roy Wood Prize for Printmaking at the Royal Scottish Academy Open.
The starting point for Colin Moore’s prints is usually a small drawing in a sketchbook which fits in his pocket. He then transfers that image to a larger scale, aiming to preserve the spontaneity and simplicity of the original. Most of Colin’s lino prints are coloured, requiring multiple blocks to build up the image. He only allows himself a maximum of three blocks, so he spends some time at the planning stage puzzling over how to get for example eight colours out of three blocks. This usually involves overlapping the colours, cutting up the blocks and other tricks. Colin’s subject matter is mostly British landscape, especially coastal subjects and architecture.
Ed Boxall is an illustrator, printmaker, writer, and performer. He likes to make pictures, poems and stories that mix up everyday things like porridge with magical things like unicorns.
Many of his handmade prints capture moments from life: children’s encounters with animals and walking on the beach etc. His self-published and illustrated Pearbox Books explore this world including “Dolphins Keep Me Safe in Dreams” and “High in the Old Oak Tree”.
His book “Me and My Alien Friend” was recommended for The Summer Reading Challenge this year and he has illustrated solo collections and anthologies such as Moonstruck.
Most of Eliza Southwood’s work is cycling-themed, she loves cycling as a subject for all sorts of reasons, but she often strays into other subjects too, veering into abstraction occasionally. Eliza watches cycling races for inspiration and uses photographs for reference so that she can make sure the rider’s physique is correct when she draws it. She doesn’t see herself as a particularly careful or precise artist, but she takes great care to try and get her prints right. In 2018 Eliza won the Cadisch Prize for Printmaking at the ELP Festival of Print and first prize in the Poster Prize for Illustration held at the London Transport Museum.
Frans Wesselman’s main interest is telling stories about people and their emotions and their interactions with one another, animals, nature and the super-natural. His ideas come from literature, his own experiences, things he has seen and drawn or from his imagination. Once he has an idea he will use studies and sketches to work out the details. Frans uses the printmaking techniques of etching and woodcut and he is currently making monochrome etchings.
One of the first things Frans bought when he came to England was an etching press, he had a virtually empty flat and slept on the floor, with a lovely 60 by 100 cm etching press in it, which he still has.
Georgina Bown has been a professional artist for over twenty years, with a background in drawing, printing and sculpture. She produces one-off Monoprints using a method of freehand drawing.
Georgina’s fascination with huge sea-going vessels comes from living near the East Lothian coast in Scotland and she has produced a new series of work for this exhibition depicting massive Oil Riggs, another monster of the sea. After her images evolve Georgina sometimes produces large scale metal Sculptures from them. Her artwork has been exhibited at major exhibitions in the Royal Scottish Academy and Masters of Monoprinting at the Bankside Gallery among others.
Glenn Tomkinson originally trained as an Art teacher and in the late 60s, he took advantage of the Teacher’s Workshop at Carlisle College of Art to learn etching and aquatint. Glenn produces small editions of up to 20 although he constantly experiments with wiping and inking while printing the edition so no two prints are identical. His work is mainly inspired by the landscape and acknowledges the influence of the abstract while retaining a response to the visual stimulus of the world around us. Recently, Glenn has returned to the subject of caves, experimenting with reversing the usual tonality by printing in white ink on black paper. Glenn has exhibited widely within the county and the surrounding areas including Printfest.
Born in Cambridge Glynn Thomas is a full-time artist now living in Suffolk. Glynn’s work includes landscape and topographical compositions, but he is seduced by maritime subject matter which includes rivers and estuaries.
The reflections and luminosity of the sky and water help in the creation of a graphic image. The etchings are carried out realistically, but are developed into unconventional images: the picture plane might be tilted or twisted, thereby condensing several perspectives within the image.
Glynn is a Fellow of the Royal Society of Painter-Printmakers, and his work has been exhibited throughout the UK and worldwide.
As a keen fell runner, Hester Cox’s excursions often take her to wilder less-visited locations in all weathers and at all times of the year. It is invariably Hester’s physical experience of a place that inspires a new piece of work. This body of work is inspired by her recent obsession with birds in flight. She is particularly drawn to flocks of birds flying and has spent a lot of time studying starling and jackdaw murmurations. Hester is a member of Leeds Fine Artists, Printmakers Circle, Northern Print, Three Peaks Arts and Ålgården Studios in Sweden, exhibiting widely and teaching printmaking workshops across the UK and Sweden.
Hetty Haxworth’s set of prints are a series that documents the movement of light over her local landscape of rural Aberdeenshire. The weather has a huge effect on the terrain, some days the fields are lit up by a shaft of bright light and the tones of the colours change completely.
Regular furrows and pylon lines provide stripes, ploughed fields provide a colourful patchwork and framing this scene are the man-made structures, the rigid lines of fences and the cattle barns, turning the landscape into a geometric study. Oxford born, studied at the Glasgow School of Art and has exhibited widely in the UK and abroad.
Ian Phillips has been working with lino for nearly thirty years now. What started as a mild interest while studying for his Illustration degree has developed into a full time, and enjoyable obsession.
Ian’s printing process starts with a walk and a sketchbook. Following lonely trails over empty hills, he looks for a finished composition to jump out at him from the landscape.
As soon as Ian works on the lino or wood the process becomes all about gouging and cutting to make marks. These marks then create a picture through the suggestions of the feel of rock or the movement of water. His aim is to build up an impression of the landscape through which he walked.
James Green fell in love with lino cutting several years after studying fine art at university. His work is based around landscapes, creatures, surreal donkey compositions and larger abstract works.
James is inspired by the shapes landscapes make, the patterns and personalities of the animals, and the worlds he can create for his donkeys. James enjoys the limitations of lino cutting, as it makes him focus on the composition and make decisions that he can’t change. James runs workshops showing people how to create linocuts and is a co-organiser for Sheffield Print Fair.
Jamie is a freelance curator and printmaker based in Green door studies in Kendal. His artwork explores manmade structures such as houses, buildings and structures in the landscape. His work is not just about townscapes but also coastal structures, lighthouses and transmission masts. The moon has also crept into his work recently.
Jamie mainly uses the aquatint etching technique to make his prints, he loves the quality of line, its depth of texture and for the random marks picked up by the process which he often chooses to preserve. He also uses the same technique to make his unique ‘Etching Plate Pendants’.
Jane Ashby is an Edinburgh based printmaker exploring natural shapes and colours through her relief and screen printing work.
She is inspired by botanical and geological themes, exploring the intricate structures, colour and depth which can be found in ever incredible variations in the natural world.
Jane graduated from Norwich School of Art with BA (Hons) in Graphic Design and now lives and works in Scotland, where she is a member of Edinburgh Printmakers.
Janis Goodman is a Leeds based printmaker, working out of her studio.
She produces detailed monochrome etchings of birds, landscape and urban configurations. Her prints are preoccupied with the repetitive patterns formed by the built environment and how these contrast with the organic forms of plants and birds.
Much of the work concerns places Janis knows well, views she looks at constantly and which have become an integral part of her mind’s eye. Janis enjoys the act of repetition – but she also likes to stop and reconfigure. She is attracted to the unusual amid the every day, trying to focus on the quirky and the irregular.
Jay Seabrook lives in the village of Lyddington in Rutland where she works from her home studio as well as the Leicester Print Workshop using their ancient etching presses.
She is inspired by the sea and the English countryside around her. She likes remote, hard to reach places that couldn’t exist, but where you can imagine an isolated retreat.
Jay works mainly with collagraphs, she loves the element of surprise in the medium, plus the softness that comes in a collagraph image.
Jay only uses the same five colours (yellow ochre, turquoise, white, sepia and yellow) to give her work cohesion. She also adds watercolour detail by masking out small areas on the plate with paper.
Jemma’s fascination with recording the passage of time is evoked with nostalgia and the questions that arise around the lost and forgotten landscapes. Urban exploration and documenting industrial decline reconnects the present day to the past.
As a result of urban expansion, recording these transient historic forms she feels it is increasingly important and a way of remembering our once-thriving industrial past.
The use of intaglio and lithographic processes supports her vision in the subjects she is depicting. The processes require an enforced decay whereby the acid bites into the substrates, resonating with the natural decay of the structures that she records.
Joanna Bourne is interested in the places where urban life and the natural world meet, and her images aim to convey the impressions of a given moment in time, a scene glimpsed which has resonated with her. Joanna’s inspiration comes from her local area of Newcastle with its town moor and parks and her allotment and garden. More recently her prints have been inspired by visits to the Danish island of Bornholm in the Baltic sea. She responds in particular to the atmospheric incarnations of ‘northern’ weather – wind, snow and rain, and the seasons. Joanna specialises in woodcut, making use of the wood grain to add texture to her images.
John Pedder finds that woodcut printing slows him down, allowing him to invest more of himself in apparently simple marks. He’s spent most of his life avoiding the sophistication that experience and refined craft skills will inevitably bring, using them instead to constantly distil his images. His main motive is the basic need to create.
The subject matter tends to deal with the nobility of life: finding the honour and goodness in a person, a deed, a situation, coupled with a large helping of humour. John aims to create an aesthetic journey using craft skills to try to make sense of an increasingly bewildering world- with a few laughs along the way.
Katerina Lendacka is a linocut printmaker living and working in rural Northamptonshire. Her linocuts combine her love of nature, architecture and storytelling. She is inspired by the imagery from her childhood growing up in the Czech Republic and her themes include animals, the British landscape and architecture.
Kat’s favourite materials to carve into are old-style kitchen flooring and Japanese Relief Vinyl. She still uses Czech wooden handle tools but she has been treating herself with birthday presents in the form of a Pfeil and a Flexcut tool. Kat runs small introductory workshops, teaching linocut methods that can be done at home.
Kim Tillyer studied Textiles and Surface Design at CCAD (now The Northern School of Art). Her use of the cyanotype process combines plants and natural objects, found in her remote Lake District surroundings, with hand-drawn and photographic elements.
Each piece is unique and often includes intricate hand-embroidered details as a nod to her textile training and interpretations of “stitch” – to create, mend, secure and embellish.
Kim is a member of Cumbria Printmakers and has exhibited her work widely throughout the UK.
Kit Boyd’s art explores our relationship with landscape and our place in nature. He works in the British romantic tradition following the path of Samuel Palmer and the neo-romantic artists of the 1940s.
His pictures are a refuge from the frantic modern world where media and technology conspire against quietude and contemplation. Kit is not against technology but is aware of the danger of losing touch with our environment. Kit uses etching and aquatint to make his prints primarily etching on copper using ferric chloride. He makes his prints by using a Hunter Penrose Littlejohn etching press with dampened Hahnemuhle etching paper. Kit has recently started making reduction linocuts and collagraphs which he prints on the same press.
Laurie Hasting’s print work explores moments of quiet, where the subject engages in a private dialogue with their environment. This could be a space within the natural world, an urban landscape or a room filled with objects.
Laurie tries to convey a sense of calm reflection through her use of colour, often using muted tones. She likes having the control of composing and planning the image first and then bringing it to life through carefully mixing up colours and the satisfaction of printing ink to paper.
Recently she has started to experiment further with her printmaking technique to incorporate gradients, different colour opacities, layering and creating ink-like effects.
Laurie has exhibited throughout the UK including several solo shows.
Liz Toole began printmaking about 14 years ago and has been a full-time printmaker now for about 10 years. In her recent work, she has been creating screen prints using birds to tell her story.
Liz will start out focusing on a particular breed of bird, spend a long time online finding out about them and looking at photographs. She then creates pencil drawings from the photographs finally choosing the bird or birds she connects with most to use.
Liz works between 2 studios, one in the centre of Brighton where she does all of her designing, drawing, packaging and painting, the other in Newhaven is a printmaking studio which she shares with 6 other artists.
Liz Whiteman Smith
Liz Whiteman Smith is a freelance printmaker and artist, currently living in London. She has been inspired by her travels around the world and is drawn to the quirky and unusual. She creates a series of multi-layered screen prints, working from her own photographs and drawings. Using colour to create playful images, Liz aims to make people smile. You can find her work at the Southbank Printmakers Gallery, Print Club London, Studio 73 in Brixton, Conclave Gallery in Brighton and on her website. She has work in the Victoria and Albert Museum archives.
Lizzie Hillier produces limited edition abstract screenprints created by hand in her garden studio in Sussex. Lizzie’s prints are grounded in process and a direct relationship with materials. She plays with form, colour and space to build compositions. The work reflects the immediate and tangible experience of cutting and arranging paper, screen-printing, looking and then adding the next layer or shape. Lizzie builds her abstract compositions piece-by-piece and makes intuitive decisions along the way. She aims to strike a balance between the precise yet improvised by adjusting and then readjusting until the forms, shapes and colours fit. The aim is to bring disparate ingredients together to create equilibrium. White is central to the work, adding an element of light to the prints, playing with areas of tension and juxtaposing movement with stillness.
Lou Davis is an Edinburgh based printmaker and artist and has been focusing on printmaking since 2015, in particular, relief printing with lino and screen printing. Lou is drawn to pattern, repetition and complexity, his work is often abstract, utilising a combination of geometric, linear and organic forms.
Lou’s work is created in response to situations of global and local significance and he creates as a form of spiritual practice, using techniques of contemplative prayer and meditation as source material.
Lou has exhibited drawings, prints and mixed media work throughout the UK and is also a member of Edinburgh Printmakers.
Mark Pearce first fell in love with printmaking at school and then at Carlisle Art College in the late
1970’s. He enjoys the discipline of the reduction linocut where the image is created from one block of lino. He may reduce the block as many as 18 times before the print is completed.
Mark prefers to use water-based inks primarily because they dry so quickly, which means that he can progress through the print without waiting several days between colours that traditional oil-based inks require.
He is also an elected member of the Lake Artists Society and his work is shown in galleries throughout the UK.
Martin Langford’s ideas come from observing everyday life – the way people go about their lives, their work, their relationships etc. A lot of his work is a comment on the environment and how man is affecting it. Martin likes to take this to extremes, depicting how bad things can get, but then pulls it back with humour and giving some hope. Martin wants his images to speak for themselves and aims to never over-explain their meaning, letting people see their own meaning in it. He is a part of the South Bank Printers’ collaborative and exhibits regularly at The Affordable Art Fair, Urban Art, and a few key galleries around the UK and USA.
Michael Smith is an Addingham based printmaker whose work underlying theme is an attempt to capture and make a subjective response to specific instances of location and time. He tries to create and share visual narratives that have, in themselves, small significance but remain for himself an essential reflection of a complete and uniquely personal aesthetic experience. Michael works predominantly through the medium of reduction lino printing which allows him to undertake the technical exercise of manipulating the original image to exploit the potential of the medium. By limiting the editions of his work, he finds time to experiment within the process itself, sometimes on a print by print basis.
Michael is an active member of both Ikley Arts, Craven Arts and the West Yorkshire Print Workshop.
Morna Rhys is inspired by the landscape, the forms of mountains, hills and cliffs, and the detail of trees, hedgerows and paths within them. The effect of sun and moonlight on the forms and the casting of shadows beneath the trees and in deep valleys. Morna’s process begins with walking and seeing, then drawing and taking photographs. She likes to use very fine lines, she use a pointed tool usually used in ceramics for levelling the top of thrown vessels. Morna has enjoyed two solo exhibitions this year, first at the Zillah Bell Gallery in Thirsk in June 2019. Then in The Old School Muker, Swaledale for the whole of October 2019.
Neil Bousfield’s practice explores landscape narrative and the concept of transformation.
The work focuses on landscape spaces, lost landscapes and places you can no longer return to. In particular, the work is a response to the critical change in environmental and geological narratives of the Norfolk coast and the Broads National Park, providing a visual record of these vulnerable locations. The process begins by drawing from observation and making a response to the location or place. Back in the studio the image is then transferred onto blocks through drawing or offset printing. Neil is an elected member of The Society of Wood Engravers and a Fellow of the Royal Society of Painter-Printmakers.
Olivia Bliss is an artist currently based in Sheffield. She studied BA (Hons) in Painting and Printmaking at the Glasgow School of Art, where she won the 2009 Glasgow Print Studio Prize.
Primarily interested in our personal connections with landscapes, she explores landscapes through journeys, drawing our attention to texture, pattern, colour and form. There are sculptural aspects to her original prints frequently involving collage, with the use of materials such as copper, steel, maps and paper. Printmaking techniques used include etching, lithography, chine colle & archival pigment print. Over the last 10 years, she has exhibited extensively in solo and group exhibitions throughout the UK, France, Iceland and Portugal.
Based in Dumfries and Galloway, Pamela Grace’s prints generally start as sketches as she looks for details and patterns that catch her eye such as hedgerows, chimney pots and roadside verges.
Pamela has a small press at home and often works at the kitchen table, strengthening sketches into print ideas and sometimes hand-colouring her prints. She is always intrigued by the unpredictable twists and turns of the journey when developing a print idea from a sketchbook drawing.
Pamela has exhibited for the last ten years at Spring Fling in Dumfries and Galloway, and her work features regularly in a range of galleries north and south of the border.
Polly Marix Evans
Polly Marix Evan’s work draws inspiration from myths, legends, fairy tales, the numerous books she reads and ideas that pop into her head when she least expects it.
Her strong female images are combined with stylised text to send an empowering message to the viewer. Her initial design may undergo numerous changes within a sketchbook until it becomes suitable to transform into a linocut print. Then during the carving of the lino block, the design may continue to alter as it becomes apparent that what was initially designed doesn’t quite hit the mark, or simply won’t work in lino. All Polly’s prints are hand-inked and hand-burnished with a baren or a wooden spoon, so no two prints are completely identical, but it is this uniqueness that is one of the delights of this type of printmaking for Polly.
Rachel Thornton lives and works in the rural North Yorkshire town of High Bentham where she continuously experiments and expands on the methods and materials she uses, which has brought forth her own unique ways of creating. Rachel combines Lino and drypoint etching techniques, painting and wood carving methods to create one-off natural artworks. She has exhibited worldwide and has had work accepted into exhibitions such as the Wrexham International Print Exhibition which toured the UK. Rachel was awarded funding to do an International Studio Exchange. Two artists from rural Mexico lived and worked with Rachel from the 8th of October for 2 weeks and Rachel will be going out to stay with them in Mexico in January for 2 weeks.
Rebecca Denton is a painter and printmaker from North London with a background in Performing Arts and conceptual illustration. She works predominantly from her own sketches and imagination creating handmade, original prints, particularly etchings. Rebecca’s aquatints are often whimsical, featuring imaginary characters in imaginary landscapes. The narrative etchings are playful and nostalgic images, sometimes with a serious context but always hopeful and life-affirming. She enjoys it when people connect with her work as perhaps it triggers a childhood memory or allows them to imagine a better world or just dream. A member of the Southbank Printmakers, Rebecca exhibits regularly throughout the UK, including London’s Bankside Gallery and has work archived in museum collections including the V&A.
Rebecca Payn is a printmaker and painter based in the Cumbrian fellside village of Blencarn.
The subject of her work usually springs from personal everyday events, domestic interiors and memorable moments and places, starting from drawings in small sketchbooks. These are often slight and sketchy but hold something of her original experience of a place or moment.
Rebecca loves the soft, organic and almost painterly quality you get when printing directly from limestone. Combining these stone lithographs with the more immediate and serendipitous drypoint and monoprint allows Rebecca to build-up layered images. Rebecca is a member of the Lake Artists Society and recently had a solo exhibition ‘A Great Day Out’, at Upfront Gallery, near Penrith.
Rebecca Vincent is always on the lookout for dramatic landscapes that she can interpret through either etching or monotype. However, the majority of her images are not views as such but imagined landscapes constructed from elements that are strongly reminiscent of particular places.
The printmaking techniques themselves are a constant source of inspiration for Rebecca as she experiments with them and finds opportunities to make marks and textures that connect to the subject matter. Rebecca has had many exhibitions over 24 years as a full-time artist and she is a regular exhibitor at The Biscuit Factory in Newcastle and Cambridge Contemporary Art.
In Rolf Parker’s aquatints, etchings and linocuts he is particularly interested in the effects and colours of light and shade on the landscape of West Cumbria. He aims to make an accurate, atmospheric rendition of a composition, whose inspiration always derives from a unique observed moment, dependent on the weather and light, observed while out walking. Together with running his small gallery in Cockermouth Rolf works on his art full time, enjoying painting in pastel alongside the printmaking, and has done for 25 years in his present location.
Ruth Green makes limited edition screen-prints, using water-based ink and Fabriano paper.
Her work begins as a pencil sketch, sometimes done whilst out walking or visiting a garden or landscape.
Ruth sketches to ‘collect ideas’ for prints and then refine the composition with several rounds of drawing, working out how to separate the colours and how many layers there will be.
Ruth’s equipment is very basic, and she doesn’t use traditional registration, she prefers to line the layers up by eye, and enjoys the movement this creates. Because there are usually only 2 or 3 layers, this is manageable. Ruth has recently moved away from Birmingham to the Welsh Borders and is excited to see how the new space and landscape will impact on her work.
Sally Winter began establishing her etching studio in the late 1970s, during this time her printmaking was informed by her Cotswold Childhood and life on the South Coast. Sally’s influences include coastal and rural landscape, the atmosphere and flora and fauna of her surroundings.
The importance of drawing and direct observation are key aspects of her work, photographs are used in studio reference to supplement sketchbook work. In addition to etching, Sally uses Mono printing and collagraph to develop and extend her practise into areas less reliant on drawing and enjoys the freedom and painterly feel that these processes offer. Sally has exhibited throughout the UK, in Japan and New York.
Samantha Groom works from her home studio in Sheffield, printing onto paper, medite (eco-friendly MDF) and fabric to create framed artworks, wall hangings, free-standing artworks and textile homewares such as lampshades and cushions. Samantha is inspired and influenced by many artists, interior design, illustrations and imagery from her childhood in the 1960’s and 70’s.
The themes in her work are taken from what she sees around her, the park, local buildings, toys and books, ordinary household items, a vase of flowers, an old ornament etc.
When printing Samantha experiments with arranging and re-arranging each individually hand-cut piece of wood, lino or hand-cut stamp, having fun with colour combinations and mixing her printing techniques to produce different designs for each print.
Sara Lee’s images are a response to the ephemeral nature of the landscape and aim to question our profound emotional and physical relationship with it, especially at this time of ominous environmental change. She predominantly works with drawing, watercolour and print, including Japanese Woodcut. Sara’s practice involves walking in and working from landscapes followed by extended studio-based work. Her images often reflect a point of dramatic change in light – at dusk or dawn, in moonlight or an approaching storm.
Sara exhibits widely and her work is held in public and private collections internationally, including Pallant House Gallery, Tama Collection, Japan and the V&A.
Using traditional printing techniques Sarah Cemmick carves her designs into lino block with the same set of tools she has used since her very first linocut. Influenced by wildlife, be it fluffy, furry or feathered, she explores a variety of themes, the hare being a particular favourite.
Sarah’s prints are pulled using linseed oil ink which then allows some pieces being additionally tinted with watercolour to give added texture. She also uses Japanese tissue with gold and silver foil flecks, further enhancing the decorative effects. Her current collection of work focuses on the positioning of each subject on the paper, the aim is to let the viewer decide on what the animal is thinking, feeling or it’s next move. Sarah’s works are held in private collections across the globe.
Sarah Du Feu
Sarah Du Feu is a Yorkshire based printmaker making prints that respond to the landscape around her. She works across many printmaking disciplines, including screen printing, etching, and relief printing.
Sarah works in both Landscape and Still Life genres, but sees them both as explorations into form, colour and composition. The images are built up in multiple layers of ink, creating rich tones and textures. The prints can take weeks to make, allowing for drying time and new screens, stencils etc to be made. Each print is either part of a very small edition or a unique monoprint.
Sarah Ross Thompson
Sarah Ross Thompson’s aim is to capture a sense of space and time, placing the viewer in the landscape with walls and rocks close enough to touch and rolling vistas which invite you to explore. Her inspiration comes from the many beautiful locations she has lived in, including rural Dorset and Argyll.
Sarah’s preferred printmaking medium is collagraph; she builds collage printing plates using materials such as string, salt, corrugated card, lichen and grasses. Once sealed with a shellac varnish, the collage plate can be inked up and used very much like an etching, but much more textural in quality. Sarah often combines two or three plates to produce an image and may also roll the surface of the plates, combining relief and intaglio methods.
Based in Brixton Sophie Layton’s work consists of a series of monotypes that explore light, as she has always been inspired by the way light is refracted through glass. She aims to create expression through the use of colour, in an effort to achieve a rich, painterly quality in print. Sophie begins with a notion, however, things happen along the way that isn’t foreseen, which take the work in new and unexpected directions. Sophie takes inspiration from Japanese techniques such as Ikebana (Japanese flower arranging) and mokuhanga (Japanese woodblock printing). Through Mokuhanga Sophie is creating work she’s been thinking about for years but felt she never had the right tools to carry out
Steve Edwards prints mostly derive from photos that he takes of cityscapes and landscapes. The photographs he chooses are usually about a specific mood or atmosphere created by the light, elements, location and his emotional response.
Steve was an etcher for many years until he switched to linocut. He began experimenting with etching lino and this has now become an essential part of his practice. He creates his prints by building up layers of marks on multiple lino blocks, some cut and some etched and using inks with extender to make them more transparent therefore building complex layered colour variations. Steve is a member of several printmaking groups including Greenwich Printmakers and The Printmakers Council.
Steve Mitchell (57 Design)
Steve Mitchell is currently working under the pseudonym FIFTYSEVEN – as a graphic designer, illustrator and printmaker based in London.
His work is built from a dizzying mix of decoration and pattern, filled with a wealth of historical, religious, occult and masonic symbolism. Steve prefers to work with a restricted colour palette, especially favouring metallic inks, calling the style ‘Neo-Victorian Maximalism’.
Sumi Perera’s work combines different techniques to explore how humans navigate manmade built environments. There is a strong architectural & cartographical element to her work, where she draws upon her own early nomadic travels since childhood. Sumi often hands over the final editorial control to the viewer to decide the alignment/sequence/directionality of her multi-modular work. It is very important for her as an educator to encourage everyone to see themselves as artists who are the final link in her work. Sumi’s work is in many public and private collections including the Tate and the Victoria & Albert Museum. She has held many international artist residencies and is a senior fellow of the Royal Society of Painter-Printmakers.
Susan Dobson’s work expresses the human connection with landscape, especially wild places, and she is known for her images which celebrate the mountain environment. She finds it important to draw and paint in the often remote locations which inspire her.
After a drawing trip to the Outer Hebrides and Cape Wrath in June, Susan has created a new series of prints reflecting the moods and colours of the Scottish west coast where mountains give way to the sparkling kyles and sweeping beaches. She is also a mountaineer and climber and works in high mountain areas from Cumbria to the Himalaya. Susan is a member of Northern Print, Newcastle.
Suzie Mackenzie lives and works as a professional printmaker on the east coast of Sutherland in the northern Highlands. Suzie relishes the challenge of breaking down a complex and nuanced image to a restricted number of tones and almost-abstract marks dictated by the nature of tools and materials, then rebuilding it to a point where it once again becomes identifiable. She combines the traditional methods with more contemporary approaches to printmaking such as digitally created chine collé papers. The subject matter of her work explores the landscape and structures of the north-eastern highlands of Scotland and endeavours to communicate the beauty and mystery of moments and places. Suzie’s work has been exhibited widely in the UK and beyond and is held in private collections worldwide.
Theresa Pateman creates etchings via various methods, but mainly through the traditional method of etching by laying a wax ground on a metal plate, scratching lines in the wax and “biting” the lines in acid.
Theresa often reflects on the fact that there are so many various ways images can be created and finds printmaking to be a great way for her to create artwork as she finds it such a fascinating medium full of alchemy and difficult to predict.
After completing a degree in illustration from The University of Kingston, and developing a passion for the art of etching, Tim Slatter apprenticed with the painter-etcher Piers Browne at his studio overlooking his home town of Wensleydale.
Tim specialises in landscape and cityscape etching and also paints large landscapes based around trees at the studio he shares with his partner in Welburn, in the Yorkshire Moors.
Tim started his business in 1997 and has gone on to show in over 150 shows nationally and as far away as North India. He previously had a studio at the Chocolate Factory in North London and has 16 etchings in the collection at the Palace of Westminster.
Tim Southall is a figurative artist and his work covers a broad spectrum from fluid, evocative landscapes to narrative pieces very much in the printmaking tradition. He aims to explore a range of subjects that are familiar and strives to find something new and interesting to say about them.
Tim takes an instinctive and emotional approach to his work and uses the language of drawing and mark-making in an attempt to convey depth and atmosphere.
Tim is a graduate of the Royal College of Art and L’école des Beaux-Arts, Paris and is a member of Birmingham Printmakers.
Vicky Oldfield is a printmaker who likes to find beauty in the everyday – some weeds on a roadside or a cluttered windowsill can set off a new collection.
She treasures both the eccentric and the ordinary, inspired by collections of found objects and natural forms. She is fascinated with the structure and design found in flowers and plants, often redrawing the same plant many times over to explore the subtle variations in its form.
Vicky’s work often incorporates seedpods, grasses, bottles and bowls collected on walking and sketching trips. Each piece tells a story using collage and drawing, referencing a memory, time or place. Vicky’s work has been exhibited in the UK, America and Japan.