Professional Documents
Culture Documents
It was agreed early on that the IMPRESS’09 Festival was to be a It was agreed early on that Impress 09 Festival was to be a dynamic
dynamic and inclusive month-long event, showcasing some of the and inclusive month-long event, showcasing some of the best in
best in contemporary British printmaking and featuring invited artists contemporary British printmaking and featuring invited artists of
of stature. Perhaps organising a Festival of this prominence and stature. Perhaps organising a Festival of this prominence and this
this breadth in a recession was ambitious but this catalogue and breadth in a recession was ambitious but this catalogue and the
the series of exhibitions, talks, demonstrations and workshops that series of exhibitions, talks, demonstrations and workshops that
support the Festival show that Printmaking is very much alive and support the Festival show that Printmaking is very much alive and
kicking. kicking.
The festival celebrates printmaking and print workshops from This catalogue celebrates printmaking and print workshops from
England, Wales and Ireland, as well as providing a platform for other England, Wales and Ireland, as well as providing a platform for some
international artists. We hope this will prove a reference tool for all International artists. We hope this will prove a reference tool for both
printmakers and for all those interested in print over the next few
years.
Tricia Henry
1
IMP RES S’0 9
Norman Ackroyd 4 Malcolm Franklin 31 Tessa Pearson 56
CO N T E N T S Curwen Std 5 Simon Burder 32 Rose Seber 56
Enitharmon 6 Sophie Dickens 33 Gerry Baptist 57
Off Centre Gallery 7 Oliver Bevan 33 Susanna Harris Hughes 58
Masako Seo 7 The Curwen Std 34 Melanie Gairns 59
Wojciech Pakowski 7 Noel Myles 35 Julie Hoyle 59
Yukari Yoshimoto 7 Colin Wilkin 35 Double Elephant 60
GPC 10 Mark Hearld 36 Simon Ripley 61
Tricia Torrington 11 John Bellany 37 Sally Hebeler 62
Susan Drennen 12 Paul Hogarth 37 Robin Duttson 63
Andy Lovell 13 John Howard Print Std’s 38 Emma Molony 64
Christine Felce 14 John Howard 39 Lynn Bailey 65
Neil Bousfield 15 Jason Lilley 40 Jeremy Speck 66
Geoff Smith 16 Becky Haughton 40 Gallery Pangolin 67
Lucy Orchard 17 Sue Corke 41 Abigail Fallis 68
John Huntbach 18 Sally Spens 41 Terence Coventry 69
Linda Meakin 19 Spike Island 42 Lynn Chadwick 70
3
Norman Ackroyd
Norman Ackroyd studied at Leeds College
of Art and The Royal College of Art, London.
He was elected a Royal Academician in
1988 and was awarded a CBE for services
to Engraving and printing in 2007. His work
has be taken for selected public collections
including museums and galleries in Europe,
the US, Canada (including the British
Museum – London, MOMA (New York)
and the National Galleries of Scotland,
South Africa, Norway and Canada, in the
Rijksmuseum Amsterdam and in the Royal
Collection at Windsor Castle.
info @normanackroyd.com
www.normanackroyd.com part of ‘Collaborations: Three In One’ exhibition at The Museum in the Park, Stroud ‘En Plein Air’
The Studio was set up in 1958 to ensuring that the quality of the
provide a facility for artists to work work will last.
collaboratively with our experienced Lithography is very flexible and
printers to create their original gives a wide range of mark
‘The Unicorn Artist’, by Paula Rego,
prints. Prior to this it was very making - ranging from fine line to
ed 50, size 85 x 62cm, unframed £1800.00
uncommon for British artists to solid blocks of colour. Because
practice collaborative printmaking, the layer of ink is relatively thin,
as if they wished to do so, they it is also possible to make use of
mainly had to go abroad. The range overlapping colours. Artists find it
of artists that have produced work simple to work using lithography as
with the studio over the years is the means of creating marks uses
like a roll call of Modern British brushes, pastel, charcoal, stencils
Contemporary Art. etc.
We offers facilities for all forms It is possible to arrange to visit the
of lithography and have a world studio. Groups are also welcome
renowned reputation for producing and encouraged to have go if
work of the highest standard: desired - leaving with their own
the materials used are archival, original print.
part of ‘Collaborations: Three In One’ exhibition at The Museum in the Park, Stroud
‘CELEBRATING 50 YEARS OF THE CURWEN STUDIO’
Curwen Studio 5
Enitharmon
For twenty years the Off Centre Gallery, or triennials. In 1986 on his first visit More recently he has participated in processes of contemporary art. In 2010
Bristol, has promoted printmaking with to Lodz, Poland, he met artists from and travelled to see exhibitions in South when a larger international exhibition
a focus on work from outside the UK. Bulgaria, Russia, Japan and India as well Korea and China. Some of the exhibited is planned to take place here in Stroud
Contact with these artists has, in the as the host country and immediately work is identifiable with a particular there will be further opportunities to
main, come about through artist Peter began planning to show their work in visual culture while other artists place consider and compare impressions
Ford’s participation in exhibitions abroad, the UK. Since that time he has made themselves within the more generalised worldwide.
t 0117 987 2647
several of which recur as biennials several visits to Russia, Japan and USA. language, preoccupations and
e-mail: offcentre@ lineone.net
For anyone wanting to be directly involved in the creative process of printmaking, setting up an effective
workshop for personal use is a daunting proposition. The use of elaborate, often heavy equipment, the complex
health and safety issues, the sizeable dedicated space required and the capital outlay all militate against
individual enterprise.
Communal print workshops offering open access to fee-paying artist members are the obvious solution. The
last 30 years in particular have seen an astonishing proliferation of shared and open workshops both here and
abroad. Often revenue- or capital-funded, many also provide additional facilities to support running costs such as
courses, demonstrations, talks, exhibitions, framing and contract editioning.
These imaginative and enterprising ventures have generated a period of unprecedented creativity, interest and innovation in
printmaking as a primary expressive medium. Above all, prints in all their traditional and contemporary variety are proving to be highly
desirable and affordable purchases in the eyes of the buying public and serious collectors alike.
Basing a national exhibition on the best output of these open print studios is the brainchild of Gloucestershire Printmaking Co-
operative’s founder and director, Sue Drennen. Invited to participate with their own selection of prints, the studios have submitted a
wonderful diversity of superb works for sale.
It was always intended to mount an ambitious programme of workshops, talks, demonstrations and other shows and events around
this core exhibition and so IMPRESS’09 was born, a testimony to the vision, energy and determination of Sue and her very able team.
In a year in which printmaking is being widely celebrated across the country through other major events and exhibitions, I have no
doubt that IMPRESS’09 will make its mark. I believe it will prove to be a memorable landmark event, welcomed and enjoyed by all and
eagerly anticipated as a returning fixture in the country’s future art calendar.
Maxine Relton
The GPC was set up in 2005 to etching, plate, lithography, screen events, exhibitions, talks and
provide much-needed specialist printing, relief printing and photo demonstrations for the general
fine art printmaking facilities for mechanical processes. public and specific educational
artists in the Gloucestershire area. Since 2005, groups (including widening our
The first studio was opened at The GPC has gone from strength remit to the young, the disabled Unit 16c, Griffin Mill
London Rd, Thrupp, Stroud,
Griffin Mill in Thrupp, near Stroud in to strength meeting our outlined and other vulnerable groups)
Gloucestershire, Gl5 2AZ
September. objectives of: - forming links with other artists t 01453 885100
There is now a second studio - providing a centre of excellence nationally and internationally. email info @ gpchq.org
www.gpchq.org
on the site. Together these two for Printmakers
studios provide facilities for - offering courses, educational
t 01242 524157
email triciahenry@ blueyonder.co.uk
GPC 11
Susan Drennen
Born in 1960, Susan Drennen studied
genetics at Cardiff University retraining
as an artist in the 90’s studying a BA in
fine art printmaking at the University of
Gloucestershire followed by an MA in Fine
Art. Having won the Curwen Print Prize in
2000 she worked under Stanley Jones at
the Curwen Studio. This fired her passion
for stone lithography. She set up the
Gloucestershire Printmaking Co-operative in
2005 providing studio facilities for etching,
screen print, relief print and lithography.
t 01453 873283
email sue@suedrennen.co.uk
www.suedrennen.co.uk
GPC 13
Christine Felce
Christine Felce BA Fine Art Printmaking,
RCA Film School
Christine combines her printed images
into her work as a filmmaker.
She loves experimenting with the
boundaries of printmaking. The
inspiration for many of her prints comes
from issues that she feels strongly about.
‘A419 Cirencester to Cricklade’ is one
in a series of eight entitled ‘Road Kill’.
These were made to highlight the loss
of life on a dangerous road by focusing
on the animals that have died and is part
of a film entitled ‘Road Kill’. Christine’s
dream is to see a cycle track along the
A419 road.
‘On The Inside’ is a series of 5 images
that are semi-transparent and are to be
viewed from both sides.
The series uses photographs from the
inside of a prison together with layers
of etching and chine-collé to create a
portrait of life on the inside.
‘ No Winners’ is an ongoing series about
drug abuse that has helped her explore
and understand modern culture.
Christine is a great admirer of Satish
Kumar. One of Satish’s philosophies for
life is that all objects should be Beautiful,
Useful and Durable, which is a great
guide line for making anything.
t 01453 884775
email soundadvice@ boltblue.com
www.soulmovies.com
t 01453 821546
email prints@inkyfingerspress.com
www.inkyfingerspress.com
GPC 15
Geoff Smith
Geoff trained at North Oxfordshire School of
Art and has a studio in Faringdon.
Whilst his work focuses on intaglio etching,
he uses various techniques to amplify the
subject’s portrayal with the use of colour,
texture, typeface and in the case of
“ Mill on the Cole” creating a print on
plaster. The mill is a 17th century water mill
that revealed a historical time line images
during renovation. The line created a series
of prints for exhibition and published as
a limited edition collector’s book. He has
exhibited at both solo and group shows
within Oxfordshire. He has shown at the
affordable Art Show in London & Bristol and
at the NEO gallery in Cumbria.
He is a member of GPC and Imprimatur
printmakers, who are exhibiting
IMPRESS’09.
IMPRIMATUR
t 01367 241032
email geoffsmith111@tiscali.co.uk
www.lucyorchard.com
email lucyorchard @ lucyorchard.com
GPC 17
John Huntbach GPC
Under Milk Wood: Night, is the first of a
series of prints that I will make evolving out
of Dylan Thomas’ play for voices.
The prints are not intended to be a visual
description of any particular part of the
poet’s work, but rather a reflection of some
of the varying layers and meanings revealed
in its reading.
The spheres of gold are a representation of
the references woven into parts of the text
that refer to the Music of the Spheres and to
the cosmic Dance of the World.
t 01453 544508
lindameakin@hotmail.com
GPC 19
Artichoke is one of the UK’s internationally recognized. We promise a high standard of
leading professional fine art We have a wide range of professional advice in maintaining,
printmaking studios -selling contemporary original artwork adding to or starting your art
publishing and exhibiting etchings, made in our studio by our artists. collection.
lithographs and block prints Artichoke offers a full consultancy
Unit S1. Bizspace
by up and coming and service and welcomes all private
245a Coldharbour Lane
professionally established artists and corporate enquiries. Visiting London
in the art world. Our reputation is our studio gallery is a fabulous SW9 8RR
t 0207 924 0600
and commitment to presenting and opportunity to experience finding
email artichoketrading @ btconnect.com
exhibiting the best is nationally and that special piece of art. www.artichokeprintmaking.com/
Paul C at h e ra ll
Paul Catherall is a London-based printmaker and illustrator.He is re-knowned for his clean,
sharp linocuts of architectural landmarks, which have become highly collectable, made
popular by his participation in numerous solo and group shows, as well as his commissions
for figurative illustrations for high-profile clients. His inspiration is drawn from classic mid
20th century poster design, propaganda art from the Soviet era and the work of artists
such as William Nicholson. His subject matter has included the Elephant and Castle
Shopping Centre, Canary Wharf, Battersea Power Station, the Tate Modern and several of
New York’s most iconic landmarks.
A r t i ch o k e S t u d i o s 21
B a rry G ood m a n
Barry Goodman originally intended to become an architect, but studied Graphic Design
instead at Reigate School of Art and Design, before pursing a successful career in Design
and Illustration. He studied printmaking at The London College of Printing.
His design background led into larger graphic prints and paintings which now adorn walls
as far apart as Streatham and San Francisco, New York and Naples. He has been featured
in various magazines and publications including Artist and Illustrator and Tegneren - a
Danish arts publication. His work is published by The Almanac Gallery, Paperhouse and
Quarto. He lives and works in London.
Colin Gale RE
Colin Gale RE is a director and a founder member ofArtichoke Printmaking - one of
London’s leading printmaking studios. Colin’s expertise as a printmaker is widely
recognised and he has worked with many of the world’s best artists, as well as creating his
own prints.
He is the author of several books on printmaking - Etching and
Photopolymer Intaglio Techniques, Practical Printmaking and
the co-author of The Instant Printmaker.
He lectures in printmaking in colleges, schools and printmaking studios throughout the UK.
A r t i ch o k e S t u d i o s 23
Birmingham Printmakers is a We use the workshop for
! our own we are have a student from Chile Full Membership is £240 per annum
(£20 per month) with no extra costs and
self supporting group of artists/ work, but also have a dynamic, working with us. This year we
no hourly rates, and includes an induction
printmakers, who practice a wide pro-active approach in the had a grant for teaching inner city course and reduced rates for further courses.
range of printmaking techniques. wider community. Members run children during the school holidays Alternatively, you could become a Friend
of Birmingham Printmakers - £20 per
Our members exhibit worldwide workshops in the studio for the via Birmingham Foundation.
annum, which entitles you to discounts on
and many have won national general public. We also outreach As a member of Birmingham workshops, invitations to participate in
exhibitions and attend private views
prizes. We have a thriving and to schools and community groups Printmakers, we hope you would
growing membership, with open in Birmingham including Full want to get involved in these 90, Floodgate Street, Digbeth,
Birmingham B5 5SR t 0121 766 8545
access to our excellent studios in Potential Arts, Friction Arts, LIEP activities, and also in the running of
email: celia@ anchorage.eclipse.co.uk
Digbeth, a newly developing hub (Ladywood Interfaith Educational the studio through our committee. www.birminghamprintmakers.org
Sharon Baker
‘Wedgwood V’, collage of mono prints, size: 54 x 26 cm, framed £ 325
Sharon uses prints to create collages and as
elements in mixed media compositions. Her
work draws on imagery from graphic art and
popular culture: typefaces, adverts, posters,
photography and films. Visual gestures are
shifted from their original context to invite
new meanings. A signature device is the use
of tessellation: repeating images for increased
visual impact as well as to create rhythm and
balance through the motifs selected and the
colours used. ‘Wedgwood V’ is part of a series
inspired by the colours of ‘Wedgwood’ Blue
Jasper Stoneware combined with an image
from a film.
B i r m i n gham P r i n tmak e r s 25
Victoria Linehan
‘On the Hill’, photoetching, edition: 10, unframed £195
www.solepinto.com
B i r m i n gham P r i n tmak e r s 27
OAKS EDITIONS LITHOGRAPHY
Simon Burder set up his stone assistance. Artists have visited the The studio is one of a group of
lithography studio at Oaks Park, in studio to work with Simon from many studios in converted stable buildings
the London Borough of Sutton, in parts of the UK and from France, India on the former estate of the Earl
the mid 1990’s. Several times a year, and Japan. Staff of both the British of Derby, now an attractive public
he offers short courses for small Library and V & A Museum have park. It is equipped with two
groups of up to four people. These attended their own specially organised direct presses for stone lithography
are suitable for artists with or without workshops. These teaching and and stones of various sizes up to
previous experience of printmaking. collaborative experiences provide a approximately 56x76 cm. There are 7 Hotham Road
He also welcomes enquiries from stimulating context for his own work, also a smaller tabletop intaglio press London SW19 1BS
t 020 8542 4541
artists who wish to produce editions offering ever new ways of seeing the and a galley proof press, used for lino
email simonburder@oaksfineart.co.uk
of their own work, with or without familiar processes. printing. www.oaksfineart.co.uk
Oaks Ed i t i o n s 29
Kate Wilson
Kate Wilson makes her art out of excerpts from her own life, using distortions of drawing
or colour to tell her stories more vividly. Influenced by icon painting she changes space and
reality to fit what she wants to say.
She studied painting at Winchester School of Art and the Royal Academy Schools and is
a winner of the Royal Academy Gold Medal. She exhibits regularly and her last solo show
was in Guildford Cathedral.
Kate likes the feel and simplicity of drawing on litho stone and the flexibility to scratch back
into the surface, making areas of light.
email katewilson@oaksfineart.co.uk
www.oaksfineart.co.uk
Nicole t t e C a rt e r
Nicolette Carter graduated from West Surrey College of Art and Design in the 1980’s.
During the course of her career she has worked in painting, sculpture, animation and
printmaking. Nicolette was introduced to the lithography process at Simon Burder’s studio.
The print “As Fast As We Can” was created by drawing directly onto the stone using
a pipette. This gave the line an animated, fluid quality. The touches of primary colour,
applied by hand, add a child like energy and enthusiasm to the image. Nicolette’s work is
shown at Skylark Gallery, South Bank, London.
email nicolettecarter@yahoo.co.uk
www.nicolettecarter.com
email malcfranklin@hotmail.com
Oaks Ed i t i o n s 31
Simon Burder
Landscape is my preferred source of
imagery. Its wealth of motifs can become
visual metaphors for life’s experiences: the
path, the church, the rocky place. I hope my
images are as much about how I experience
the landscape, with its glimpses round
corners and choices of view, as they are
representations of actual places. Lithography
is my favourite means of expression, the
stone itself deriving from the landscape.
The subject belongs to the artist’s series on the Piazza del Duomo in San Gimignano. He
concentrates on tourists: their ‘lightness of being’ which stems from not belonging there,
a kind of positive alienation. The big spaces and the overhead view underline this and also
promote an abstract freedom of composition. Oliver Bevan graduated in painting from the
Royal College of Art in 1964 and has exhibited in London, Paris, Zurich, Toronto and in art
fairs in Basel, Dusseldorf and Cologne. He has works in the Museum of London, Guildhall
Art Gallery, Herbert Museum, Coventry, Middlesbrough Art Gallery and many corporate
collections.
www.oliverbevan.com
Sophie Dickens
Sophie Dickens’ printmaking has two major influences. Firstly she is a professional
sculptor. She constructs her sculptures using curved pieces of oak, making convex and
concave forms that emphasise the contrasts between light and dark. She likes to maintain
the truth of the materials that she uses - wood, glue and steel, and was drawn to stone
lithography because of its hands on directness. Secondly, she originally trained as an
art historian, and is greatly influenced by traditional themes of figurative and narrative
art. Simon Burder at Oaks Editions has been enormously supportive in assisting in the
production of her lithographs.
www.sophiedickens.co,uk
Oaks Ed i t i o n s 33
We provide facilities for artists pastels, paints, stencils etc. Thanks to allow artists the freedom to be
from all backgrounds to create to the artistic desire to challenge & creative in print.
hand drawn original prints on a experiment, new ways of working The studio is based at Chilford Hall,
collaborative basis with our skilled are being discovered making a Cambridgeshire country estate,
printmakers, using any form of lithography a truly innovative which includes their own vineyard The Curwen Studio
Chilford Hall
lithography - Stone, Zinc and process. producing award winning English
Linton
polymer coated plates. Having recently celebrated our wines. Cambridge
Lithography is an extremely flexible 50th anniversary we hope that the CB21 4LE
01223 893544
process and uses mark making that facilities that we have today will www.thecurwenstudio.co.uk
all will be familiar with - pencils, continue for many years to come info @thecurwenstudio.co.uk
He studied at Brighton University for his BA 92-94 and then his MA at the Royal College
of Art 94-96. He has had several solo exhibitions in East Anglia, including in 2003 at the
Britten-Pears Library during the Aldeburgh Festival and in 2005 at The Fry Art Gallery.
Colin’s introduction to lithography with Three Corner Wood gave him a different approach
to creating an image, which he found refreshing. This print is the second work he has done
with us, which has used more of the lithographic opportunities for mark making.
Foreshore
Noel Myles
“My pictures represent my experiences of looking at landscape. I photograph whatever catches
my eye, both distant and nearby and accumulate this information over a period of time.
The negatives are selected and combined to form an image that evokes a memory of those
experiences. Variations in the composition are achieved by adding or removing negatives as
the picture grows. Sometimes over 200 negatives comprise the final composition. He came to
photography with a background in painting and printmaking.
He wants to liberate his still photographs from the static viewpoint and the single moment.
They do not record a fixed position in time or space. They are composed in the studio not in the
camera. The idea is that they encourage prolonged contemplation that moving film does not
provide and that these accumulated compositions present an extended sense of experience in
a still image that a single-frame photograph does not achieve.
The process used to create this image is unique to The Curwen Studio - Photographic Contone. It allows a
true representation of the negative(s) - as there is no dot screen. The process is wholly archival.
Paul Hogarth was regarded as Britain’s pre-eminent water colourist, working within the
tradition of Edward Lear and David Roberts by creating images of the faraway and exotic
places of our world. These have appeared in his own books and lithographs and also
in collaboration with such distinguished writers as Robert Graves, Graham Greene and
Lawrence Durrell.
Paul Hogarth’s work is held in collections worldwide including the British Museum, and
Library of Congress and the Victoria & Albert Museum. He has exhibited regularly in
London at the Francis Kyle Gallery and was awarded the OBE in 1989 for his contribution
to the Arts.
The series of prints created through the 1990’s were inspired by his extensive travels in
the footsteps of DH Lawrence and Lawrence Durrell and sought to capture the feelings of
the times that the two authors were experiencing whilst in the different locations. Santa
Monica Beach portrays the fashionable resort once favoured by film stars in the 1920’s.
views to Falmouth, the studio is for display and sale of fine art prints and Unit 4, Jubilee Wharf,
Commercial Road, Penryn, TR10 8FG.
developing as a centre of printmaking for demonstrating the art of printmaking
excellence with a programme of to the wider public. nb. the building is fully wheelchair-accessible.
t 07870 679061
email john@johnhowardprintstudios.com
www.johnhowardprintstudios.com
Jo h n Howa r d P r i n t St u d i o s 39
Becky H augh ton
I make drawings in which I select and combine imagery from photographs; repeating
elements over a series of drawings whilst adjusting their scale or perspective; mixing up
visual languages and building a new version of the original image or images. I’m exploring
the possibility that drawing can allude to the constructed and restless way we encounter
the past. Etching is both an extension and companion to my drawing practice; making and
printing an intaglio surface results in a variety of marks that are achievable through no
other means. The indirect nature of etching also ensures that an element of speculation
always remains.
‘Fading light’, ed 50, size 14.8 x 21.9cm, sugar lift, aquatint etching, paper : Fabriano, unframed : £295
Jason Lilley
Jason is usually known for his paintings, exhibiting regularly at the prestigious Belgrave
Gallery, in St.Ives. Under the guidance of John Howard RE, Jason is also gaining
recognition for his prints.
“The interlocking irregularity of Lilley’s St.Ives skylines, in taking Nicholson’s or
Haughton’s Mid-Century rhythmic architecture into a new century, reveals artistic
continuity and the safe-guarding of a townscape protected by restrictions of natural
geography and local planning regulations.
Lilley’s townscapes are thus both documentary and improvisatory in character, relying on a
balance between naturalistic and plastic, descriptive and abstract factors.”*
*Peter Davies (St.Ives 1975 -2005 Art colony in Transition)
Jason Lilley 10, Middle Rosewin Row, Truro, Cornwall. TR1 1EL
‘Winter’, etching
Sue Corke
“ In 2007 Susan Corke won a Ferdynand Zweig travel scholarship to undertake practical
creative research into contemporary printmaking and illustration in northern Europe. Her
travels in 2008 took her to Norway, Sweden and Finland, and she was also the Artist in
Residence at Amsterdam’s Grafisch Atelier in November and December 2007. Whilst
working there she was inspired by a season of parades and modern folk tales about St
Marten’s night and the Parade of St Nicholas. A menagerie of birds, rats, dogs and horses,
street creatures living and skeletal, began to take form. Combining drawing and pinhole
photography her photo-etchings evoke an alternative enchanted vision of the city at night.
She studied at Middlesex University and Falmouth College of Arts.”
t 07973762891
Jo h n Howa r d P r i n t St u d i o s 41
Established in 1976, Spike Print anyone with any level of experience learn new skills in a professional, Spike Print Studio is based at Spike
Studio in Bristol is the largest and provides 24 hour access to creative and supportive atmosphere. Island Artspace, an international
open-access print studio in the keyholder members. Our courses are very popular and arts centre, combining working
South West. Spike Print Studio Spike Print Studio offers a variety known for their quality. The Studio and exhibition space for the
seeks to support, challenge and of courses, workshops and also offers an Editioning facility and contemporary visual arts.
inspire. Its mission is to provide masterclasses suitable for beginners has recently worked with a number
exceptional resources, inspiration and more experienced printmakers. of contemporary artists, such Spike Print Studio, Spike Island, 133
and training for artists, and by doing The large, well-equipped studios as Wood&Harrison, Ged Quinn, Cumberland Road, Bristol, BS1 6UX
0117 9290135
so, to advance printmaking. The and experienced tutors enable Mariele Neudecker and Sonia email: info @spikeprintstudio.org
studio is accessible, being open to everyone to develop their work and Boyce. www.spikeprintstudio.org
www.ros-ford.co.uk
S p i k e Is l a n d 43
Chitra Merchant
Growing up in India, drawing allowed me
an exuberant rebellion.
As a child drawing held my hand as I
learnt to place myself in my environment.
Today, drawing and printmaking form a
bridge between my own imagination and a
commonly perceived reality.
I use sketchbooks to experiment, play,
concoct and incubate ideas. Keeping a
sketchbook allows me to pay attention.
The process of screenprinting allows a
freedom in layering and using colour to add
emotional narrative and political and social
texture in my work.
As a practising printmaker, I feel deeply
involved in the perceptions of Indian
women, myth and folklore in modern
society.
The thread that stitches together all
my various bodies of work, is my desire
to share an experience of symbol and
metaphor, mythology and story which
waits within the “ordinary”.
I have been a printmaker at Spike Print
Studio since 2001 and have shown
work at various exhibitions, events and
venues, including the Spike Print Opens,
The Awning Project and Arnolfini Artists
Book Fair. Work has appeared in the
Guardian, Venue magazine, Times Literary
Supplement and ‘Bristle’ Magazine.
S p i k e Is l a n d 45
Angela Holland
From Fashion design in the 60’s, Angela
has moved in her Third Age to a delight in
lettering, completing a diploma in Calligraphy
at Roehampton University in 2003. One
module was devoted to drawn lettering and
typeface design, so discovering Spike Print
Studio on moving to Bristol that year opened
an exciting new creative dimension. She
admits: “To enliven and communicate words
that tease, challenge and uplift demands
the usual design elements of colour, texture
and form. First the creation of appropriate
lettering; next you cut them - backwards!
A magical transformation occurs then with
each print taken. Printmaking is always a
surprise. That’s why I love it”.
S p i k e Is l a n d 47
The Leinster Printmaking Studio was needs of the growing membership. printing studio in the Republic. The Leinster Printmaking Studio is
founded in 1998 at the Presentation The new facility boasts a gallery space The Leinster Printmaking Studio committed to the provision of facilities,
Convent, Clane, Co. Kildare with ten where member’s prints remain on represents a group of professional which will enable members to produce
members and one printing press. Since display for sale to the public. artists, from the wider Kildare area, work of the highest standard.
this time, the studio membership has In response to environmental concerns, coming together to share resources,
increased fourfold, with five printing the Leinster Printmaking Studio uses knowledge and expertise. The Leinster
presses. ‘green’ printmaking techniques, limiting Printmaking Studio aims to be a
In 2003, the Leinster Printmaking Studio potential damage to the environment leading centre for the development of
t 086 3558 365
moved to larger premises in Marron’s and the practitioners. The Leinster printmaking and the arts in general, both
email liensterprint@eircom.net
Court, Clane, to accommodate the Printmaking Studio is the only ‘green’ in terms of production and education. www.leinsterprint.com
‘Growth’
Dedre Shanley
I work mainly in carborundum with my prints,which i favour for the richness of colour
obtained from the process and its closeness to painting.
Sometimes a print will envolved etching and drypoint as well.
My inspiration is the landscape , an element of which is almost always present in my prints,
which are partly representational, partly abstract.
L i e n st e r P r i n t S t u d i o 49
Amelia Peart
The subject of my work is predominately the figure, dissected,stripped,reformed,decayed
and formed again. The figures in the work ,on one hand, deal with the rejection of reference
to objects, and on the other hand are very much about the object and the description of the
figure. They are put together like a mixture or a compond.
When this happens we are forced to look at the relationship between the conflict of the”
work,s imagery” in the sense of the “depiction” and the “gestural “ actions.
A new-comer to printmaking, i am using and experimenting in a combination of methods in
mark making.
’Kayak’
’Rock 1’
Je a n D illon
I have always been interested in shapes and combination of shapes,be they natural or man
- made. Colours conceern me less, though that is not to say i am not moved by them.
Having lived in california, for a number of years, i came to appreciate the starkness and
jaggedness of environments, such as the nevad sierra, or the death valley. I try to capture
essential elements in these, while trying to avoid replicating nature.
My prints are mainly etching and aquatint. They are figurative and linear
with aquatint for tonal effect. I also work in pastel.
www.gayoneillart.com
‘Peace’
’Making Waves’
Rebecca Humfray
L i e n st e r P r i n t S t u d i o 51
Leicester wood engraving, letter - An education and outreach programme We are dedicatedto breaking down
Print Workshop press; lithography; screen printing; for children, young people and barriers to participation and a
promote the practise and enjoyment monoprinting; gum arabic and transfer community groups - Editioning service commitment to artistic excellence.
of fine art printmaking to a wide and methods - Specialist knowledge and for practicing printmakers. We welcome experienced printmakers
varied audience in the East Midlands technical support in traditional and non We also organise a programme of and new comers.
and across the UK. From our studio we traditional techniques in a well equipped, exhibitions including Passion 2 Print
www.leicesterprintworkshop.com
deliver: well lit, ground floor studio - A varied in our annual members’ show and Small lucy@ leicesterprintworkshop.com
Affordable printmaking facilities for house and off site course programme Print:Big Impression our biennial touring, t 0116 2553534
Leicester Print Workshop
intaglio – etching, mezzotint, drypoint, running throughout the year, ranging mini print exhibition which is open to
50 St Stephen’s Road
collagraph; relief – wood cut, lino cut, from introductions to master classes makers from across the UK & beyond. Highfield, Leicester, LE2 1GG.
‘sheet rain’, carborundum print on Fabriano, ed no. 2/20, price unframed £110 - 00
Henrie t ta C orbe t t
The landscapes of Leicestershire, West Cornwall and South West
Ireland are the inspiration for my recent imagery. The changing colours of the fields, the man
made marks left after ploughing, the burnt remains of a stubble field, all lend themselves to
abstract interpretation of landscape shapes. Documenting these patterns on the landscapes
is something I work towards. The single tree amid the huge expanse of sown field, the
famous undulations of ‘ridge and furrow’ both inspire my circle shapes and linear marks.
Working with Carborundum allows me to achieve the painterly effect
and rawness of line that I feel relates so well to these crude landscape images.
e hc @henriettacorbett.com
www.henriettacorbett.com
L e i c e st e r P r i n t W o r ksh o p 53
Ji l ly Sh o re
I am interested in describing experiences through visual language and exploring the notion that
meaning can be discovered through art making. Creation of an image can thus be a means of
helping to make sense of experiences.
Currently I am considering ideas about containment and boundaries which can evoke issues of
safety and knowing where one is in the world. Visually, containment can be expressed in literal
terms such as a jug containing a liquid, or more metaphorical terms such as feeling emotionally
and physically contained by one’s home (or lack of home) and all that this may involve.
Nichola Hingley
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 just producing a starting point especially in abstract images,
and it’s the viewer who is imposing ideas and interpreting the print to remind them of
things they have experienced themselves. I feel using the screen-printing process provides
this, as well as individuality and experimentation, giving each print a unique look and
personality. Each screen-print I produce is diverse from one another; being produced from
the same idea but has its own distinctive impression.
www.ochreprintstudio.co.uk
t 07988229763
Och r e P r i n t S t u d i o 55
R ose Sebe r
After retiring as a computer programmer I decided to devote more time to Art, and started
a part time BA in Fine Art, graduating in 2005. I concentrated mainly on Printmaking,
especially Etching. Since then I have taken various short courses in printmaking, currently
studying weekly with Jason Hicklin, at the City and Guilds of London Art School.
My other main interest is in rock and ice climbing and mountain landscape,
which is reflected in my work. When in the mountains I try to find time to
draw, later using this for my etchings
‘Wasdale 1’
www.gerrybaptist.co.uk
Och r e P r i n t S t u d i o 57
Susanna Harris Hughes
Susanna is fascinated by Cabinets of
Curiosities and ‘collections’. Her series
of ‘Inheritance’ lithographs were made
following the death of her father and the
discovery of lots of random artefacts
collected over the years by different family
members some of whom she knew and
others whom she did not. ‘Fames’s Twilight
1’ is about her grandfather who wrote books,
fought in W W1 and was later Professor of
English at Elphinstone University, Bombay in
the 1920s.
Susanna has an MA in Printmaking from
Wimbledon School of Art and BA (Hons) in
Fine Art from West Surrey College of Art
and Design. In 2008 her work was exhibited
at ‘Footprint International’ at the Center for
Contemporary Printmaking in Norwalk, USA.
Her work is in many public, corporate and
private art collections including Guildford
Borough Council, KPMG and the University
of Wales, Aberwystwyth.
‘Shaping Identity’
J ulie H oyle
Julie Hoyle considers how transforming technologies create new traditions and wonders
if nature is slowly being reinvented. Working with print and using Perspex, MDF Halogen
Lighting and a large format ink-jet printer, Hoyle combines traditional printmaking with
today’s print room technology, searching for hybrids. Works to date include sculpture, light
and shadow installations, and interwoven, multi-layered digital and screen-prints on paper.
www.ochreprintstudio.co.uk
Och r e P r i n t S t u d i o 59
Double Elephant Print Workshop * offer a range of courses in DEPW currently has over 50 artist courses each year. Most of our
is a not-for-profit open access printmaking including outreach members from Devon, Cornwall, work is based throughout Devon,
printmaking resource based in to schools and hard-to-reach Dorset and Somerset. We support but our outreach extends across
Exeter. community groups. professional and semi professional the South West.
The aims of DEPW are to: * provide high quality exhibitions, artists as well as those new to
* provide open access to fine print sales and an editioning service. printmaking. We work with an
Old Bakery Studios,
art printmaking resources and * be committed to maintaining average of 700 children and 500 Spicer Road, Exeter,
equipment an enjoyable, accessible, young people and adults through Devon, EX1 1TA.
t 07855 206 659
* to encourage and support people environmentally healthy and our outreach programme each year.
email info @doubleelephant.org.uk
to discover their creativity solvent-free working environment. Around 200 adults attend DEPW www.doubleelephant.org.uk
www.simonripley.co.uk
D o u b l e E l e pha n t 61
Sally Hebeler
Printmaking for me is a mixture of the
practical and ethereal, the process itself
allows me to ‘get into the creative flow’
when you can feel that you can achieve
anything. The obstacles in producing the
final print always increase the possibility of
discovery and inspiration.
www.sallyhebeler.com
Blossom with Birds (detail), lino print, 122 x 152cm, ed 10, unframed £2,500.00
D o u b l e E l e pha n t 63
Emma Molony
I’m interested in layering various printmaking processes together and repeat patterns on fabric and paper resulting often in wall coverings with a visual narrative.
I begin with monotype drawings and combine these with monoprints using found materials and textures – lace, fur, plants, wallpapers. These prints are then transferred onto screens to
enable me to experiment with colours and overlapping designs through screenprinting.
Most of my work at the moment is derived from the Edwardian writer Saki’s sardonic short tales.
www.emmonella.com
‘Sredni Vashtar I ’, screenprint, edition 35, size 30 x 135cm, price framed £275 ‘Sredni Vashtar II’, screenprint, edition 35, size 30 x 135cm, price framed £275
‘
www.doublelephant.org.uk
D o u b l e E l e pha n t 65
Jeremy Speck
My interest in printmaking was initially fired
by a passion for 20th century British art and
design, especially the work of artists like
Paul Nash and Ben Nicholson, who were
attempting to give continental modernism a
British twist.
www.speckprints.com
G a l l e ry Pa n g o l i n 67
Abigail Fallis
Abigail Fallis was born in 1968 and studied
at Camberwell College of Arts. She first
came to public attention with her series
of sculptures focussing on underwear,
personalised with texts and images and
based on in-depth research into the heraldic
tradition.
‘Boar’
lithograph, ed.25, size 35 x 50cm
G a l l e ry Pa n g o l i n 69
Lynn Chadwick RA 1914 – 2003
‘ XX’
monoprint, size 83 x 64cm
G a l l e ry Pa n g o l i n 71
Peter Randall-Page
Born in 1954, Peter Randall-Page studied
at Bath Academy of Art. During the past
25 years he has gained an international
reputation for his sculpture, drawings and
prints. He has undertaken many large scale
commissions and has exhibited widely. His
work is held in numerous public and private
collections throughout the world including
Japan, South Korea, Australia, USA, Eire,
Germany and the Netherlands.
Randall-Page’s practice has always been
informed and inspired by the study of
organic form and its subjective impact on
our emotions. In recent years his work has
become increasingly concerned with the
underlying principles determining growth
and the forms it produces. In his words
“geometry is the theme on which nature
plays her infinite variations, fundamental
mathematical principle become a kind of
pattern book from which nature constructs
the most complex and sophisticated
structures.”
His series of linocuts, ‘Lolui’, was produced
as part of a body of work entitled ‘Rock
Music, Rock Art’. This resulted from a recent
field trip to Lolui Island in Uganda to study
ancient rock gongs. The series explores
the monumentality of the rocks through the
simplicity of a cut line.
‘Lolui’ series
linocut, ed.30, size 40 x 43cm
G a l l e ry Pa n g o l i n 73
GPC piece to come
t 01285 851457
Rose Cottage, London Road, Poulton,
Cirencester, GL7 5JG.
GPC 75
G ill Sa lway
Gill trained at Kensington and Chelsea College and at the North Oxfordshire School of Art.
Her favoured medium is collagraph, which allows her to combine her love of sculptural
form with an exciting textural range. She has exhibited in a number of group shows in
Oxfordshire, with a solo show in the summer of 2008. Her work is also sold through the
Hatherleigh Pottery Gallery in North Devon.
IMPRIMATUR
t 01865 881934
email salwaypg @ btinternet.com
‘Dragonflies, etching, size 42.5 x 32.5cm, price £ 95 ‘Batterie de Cuisine 1’, collagraph’ ed 5, unframed £75
Denise Mason
Denise was inspired to begin printmaking whilst studying an art foundation course at North
Oxfordshire College of Art and Design; she went on to achieve a BA (hons) degree in fine
art.Denise specialises in Screen-printing and more recently non-toxic Intaglio type etching,
these mediums lend themselves to the exploration of colour and form which are at the
heart of her work.
Her imagery is based on subjects she observes from her surroundings and places she has
visited. Denise exhibits regionally and nationally, her work can be found in collections in
UK, Cyprus, Germany and USA.
t 01327 261972
email denisepmason@ aol.com
www.denisemason.co.uk
‘Fabrick of a Vision’, giclée print, size 102 x 83cm, ed 20, unframed £ 350
George Richards
Areas of Work: Film & video, digital printmaking, sound, photography.
George Richards is an experimental film and video maker who uses similar techniques to
produce digital prints. Not having the element of time (not to mention sound) he creates
images of impossible, unreal spaces, taking the viewer into dimensions that exist only in
the world of numbers.
Using photographs of buildings or natural textures, scans of tangled wool, screwed-up
cellophane or old family photographs, he creates structure out of chaos and vise versa, reality out
of nothingness (and vise versa), patterns out of ‘noise’, often with an element of surreal humour.
t 01453 884775
www.xology.co.uk
Chalford, Glos.
GPC 77
Jane Henriques
Jane’s colourful work represents the latest
stage in a varied career, and her whimsical
imagery the desire to be freed from the
constraints of a scientific and journalistic
background. Having taught Anthropology
and Animal Behaviour in the USA, she went
into film and television, working in the BBC’s
Natural History Unit, before becoming an
independent producer. Her contributions
to print journalism include her powerful
reportage on street children in Brazil for the
Observer Magazine (1986 ) and her popular
feature on ‘Women of the Arctic’ for Marie
Claire. Her articles are frequently illustrated
with her own photographs.
Fandango’’ ed 6 /12
t 01453 763265
email janehenriques2004@yahoo.co.uk
11 Castle Street
Stroud
GL5 2HP ‘
t 01453 762231
GPC 79
Fra n C h rist en
I work in a variety of mediums, often
combining them to achieve the effect
I want to achieve. Quite often I mix
painting and printing in the same work.
I am exploring memory and its
fragmented, transitory nature, also
the memory that place seems to hold.
I’m very interested in trees, and these
feature a lot on my work I like painting
in a variety of styles and mediums,
trying old and new and mixing them up
together.
Most of my work at present brings
together my love of photography,
printing and painting. I am also using
digital technology to manipulate images
to achieve the results that I want.
Although I would say that I work in
a figurative manner, I am moving to a
more abstracted format, to simplify and
clarify my interpretation of memory.
Serendipity plays a big part in the
work I do, I find the chance element in
printing exciting, and you never quite
know what is going to happen
t 01453 833354
m 07957 674255
email fchristen@ btinternet.com
01453 824212
07970 258151
ordonezc @ btinternet.com
GPC 81
T uula Jout sen
Tuula Joutsen’s multi-layered prints are
fascinating, playful and flowing forms that
draw the eye and tease the mind. Born and
brought up in Finland where she studied
at the Academy of Fine Art, Helsinki she
moved to England to study for her MA,
which she took at the Royal College of Art in
London.
t 01453 832597
email maxine.relton@tiscali.co.uk
Studio Gallery
5 The Street,
Horsley, Stroud,
Gloucestershire, GL6 0PU.
GPC 83
IMP RES S’0 9
adv e r t i s i n g 85
IMP RES S’0 9
LB Card.qxp:LB Card.qxp 5/1/09 15:48 Page 1
Perfect Reproduction
YOUR WORK IN PRINT
adv e r t i s i n g 87
ACKNOWL E DG E M E N T S
“To all those who have supported this festival with funds, sponsorship, help in kind and practical assistance
and to all those who have helped in the production of this catalogue we are more than grateful and would
like to acknowledge your generosity and skills.
You have made this ambitious and exciting venture possible. Thank you!” SUE DRENNEN founder GPC
And to our faithful festival committee, for your vision, commitment and hard work:
Tricia Henry, Neil Bousfield, Carlos Ordonez, Sue Drennen, Andy Lovell, Christine Felce, and Jane Henriques.
9 781565 924796