impress'09 printmaking festival stroud 2009

N A T I O N A L P R I N T M A K I N G F E S T I V A L S T R O U D

IMPRESS’09

C A T A L O G U E

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N AT I O N A L P R I N T F E S T I V A L S T R O U D

IMPRESS’09Foreward by Norman Akroyd RA RE Tric ia Torr ington Chair GPC

The aims of setting up the Impress 09 National Printmaking Festival were simple –to provide a dynamic forum to promote contemporary printmaking, in Gloucestershire and located in the Stroud Valleys in particular. This forum was to encourage, inform and excite the public about what fine art printmaking actually is, and to offer contemporary printmakers the opportunity to exhibit, learn, meet and discuss.

It was agreed early on that Impress 09 Festival was to be a dynamic and inclusive month-long event, showcasing some of the best in contemporary British printmaking and featuring invited artists of stature. Perhaps organising a Festival of this prominence and this breadth in a recession was ambitious but this catalogue and the series of exhibitions, talks, demonstrations and workshops that support the Festival show that Printmaking is very much alive and kicking.

This catalogue celebrates printmaking and print workshops from England, Wales and Ireland, as well as providing a platform for some International artists. We hope this will prove a reference tool for both

The aims of setting up the Impress 09 National Printmaking Festival were simple – to provide a dynamic forum to promote contemporary printmaking, in Gloucestershire and the Stroud Valleys in particular. This forum was to encourage, inform and excite the public about what fine art printmaking actually is, and to offer contemporary printmakers the opportunity to exhibit, learn, meet and discuss.

It was agreed early on that the IMPRESS’09 Festival was to be a dynamic and inclusive month-long event, showcasing some of the best in contemporary British printmaking and featuring invited artists of stature. Perhaps organising a Festival of this prominence and this breadth in a recession was ambitious but this catalogue and the series of exhibitions, talks, demonstrations and workshops that support the Festival show that Printmaking is very much alive and kicking.

The festival celebrates printmaking and print workshops from England, Wales and Ireland, as well as providing a platform for other international artists. We hope this will prove a reference tool for all printmakers and for all those interested in print over the next few years.

Tricia Henry

IMPRESS’09

3

NormaN ackroyd 4curweN Std 5eNitharmoN 6off ceNtre Gallery 7

Masako Seo 7Wojciech Pakowski 7Yukari Yoshimoto 7

GPc 10Tricia Torrington 11Susan Drennen 12Andy Lovell 13Christine Felce 14Neil Bousfield 15Geoff Smith 16Lucy Orchard 17John Huntbach 18Linda Meakin 19

artichoke Std’S 20Morgan Doyle 21Paul Catherall 21Colin Gale 22Barry Goodman 22Melvyn Petterson 23Megan Fishpool 23

BIRMINGhAM PRNTMKRS 24Sharon Baker 25Phil Wilkinson 25Victoria Linehan 26Carol Annand 26Soledad Pinto 27Celia Nancarrow 27

oakS editioNS 28Christopher Cockburn 29Kate Wilson 30Nicolette Carter 30

Malcolm Franklin 31Simon Burder 32Sophie Dickens 33Oliver Bevan 33

the curweN Std 34Noel Myles 35Colin Wilkin 35Mark Hearld 36John Bellany 37Paul Hogarth 37

JOhN hOwARD PRINT STD’S 38John Howard 39Jason Lilley 40Becky Haughton 40Sue Corke 41Sally Spens 41

SPike iSlaNd 42Ros Ford 43Chitra Merchant 44Gail Mason 45Angela Holland 46Frea Buckler 47

lieNSter PriNt Std 48Dedre Shanley 49Katherine Smits. 49Amelia Peart 50Jean Dillon 50Rebecca Humfray 51Gay O’neill 51

LEICESTER PRINT wKShP 52Gemma Wright 53Henrietta Corbett 53Nichola Hingley 54Jilly Shore 54

ochre PriNt Std 55

Tessa Pearson 56Rose Seber 56Gerry Baptist 57Susanna Harris Hughes 58Melanie Gairns 59Julie Hoyle 59

double elePhaNt 60Simon Ripley 61Sally Hebeler 62Robin Duttson 63Emma Molony 64Lynn Bailey 65Jeremy Speck 66

Gallery PaNGoliN 67Abigail Fallis 68Terence Coventry 69Lynn Chadwick 70

William Tucker 71Peter Randall-Page 72Anthony Abrahams 73

GPc memberSDavina Wynne-Jones 75Denise Mason 76Gill Salway 76George Richards 77Marta Lombard 77Jane Henriques 78Rosanna Mahony 79Fran Christen 80Carlos Ordonez 81Tuula Joutsen 82Maxine Relton 83

CONTENTS

IMPRESS’09

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.

Norman has been interested in working en

plein air for the past fifty years, creating

etchings, drawings and paintings. He has

covered most of the British Isles, working

in the open air to create vibrant and

atmospheric prints.

‘The Three Sisters Dingle’, etching

[email protected]

www.normanackroyd.com part of ‘Collaborations: Three In One’ exhibition at The Museum in the Park, Stroud ‘En Plein Air’

5C u r w e n S T u D i o

The Studio was set up in 1958 to

provide a facility for artists to work

collaboratively with our experienced

printers to create their original

prints. Prior to this it was very

uncommon for British artists to

practice collaborative printmaking,

as if they wished to do so, they

mainly had to go abroad. The range

of artists that have produced work

with the studio over the years is

like a roll call of Modern British

Contemporary Art.

We offers facilities for all forms

of lithography and have a world

renowned reputation for producing

work of the highest standard:

the materials used are archival,

ensuring that the quality of the

work will last.

Lithography is very flexible and

gives a wide range of mark

making - ranging from fine line to

solid blocks of colour. Because

the layer of ink is relatively thin,

it is also possible to make use of

overlapping colours. Artists find it

simple to work using lithography as

the means of creating marks uses

brushes, pastel, charcoal, stencils

etc.

It is possible to arrange to visit the

studio. Groups are also welcome

and encouraged to have go if

desired - leaving with their own

original print.

t 01223 893544

email [email protected]

www.thecurwenstudio.co.uk

‘The unicorn Artist’, by Paula rego,

ed 50, size 85 x 62cm, unframed £1800.00

‘Printing with Spirit’, by Mark Hearld,

ed 50, size 73 x 93.5cm, unframed £350.00

‘Kiss at Tower Bridge’, by Antony Micallef,

ed 50, size 73 x 99cm, unframed £2500.00

part of ‘Collaborations: Three In One’ exhibition at The Museum in the Park, Stroud

‘CELEBRATING 50 YEARS OF THE CURWEN STUDIO’

IMPRESS’09

ENitharmoN

part of ‘Collaborations: Three In One’ exhibition at The Museum in the Park, Stroud. ‘The Artists’ Book Collection’

7o f f C e n T r e G A l e r y

OFF CENTRE GALLERYcontemporary art on paper

masako sEo

‘Deep forest’, woodcut, size 96 x 59cm

WojciEch PakoWski

‘landscape with Hero’, carborundum etching, size 60 x 75cm

t 0117 987 2647

e-mail: [email protected]

yukari yoshimoto

‘Shake Hands Please’, drypoint, size 24 x 14cm

For twenty years the Off Centre Gallery,

Bristol, has promoted printmaking with

a focus on work from outside the UK.

Contact with these artists has, in the

main, come about through artist Peter

Ford’s participation in exhibitions abroad,

several of which recur as biennials

or triennials. In 1986 on his first visit

to Lodz, Poland, he met artists from

Bulgaria, Russia, Japan and India as well

as the host country and immediately

began planning to show their work in

the UK. Since that time he has made

several visits to Russia, Japan and USA.

More recently he has participated in

and travelled to see exhibitions in South

Korea and China. Some of the exhibited

work is identifiable with a particular

visual culture while other artists place

themselves within the more generalised

language, preoccupations and

processes of contemporary art. In 2010

when a larger international exhibition

is planned to take place here in Stroud

there will be further opportunities to

consider and compare impressions

worldwide.

part of ‘Collaborations: Three In One’ exhibition at The Museum in the Park, Stroud. ‘The Artists’ Book Collection’

IMPRESS’09IMPRESS’09

9o f f C e n T r e G A l e r y

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

NatioNal PriNt eXhibitioN at subscriPtioN rooms, stroud.

PaNgoliN artists arE shoWiNg at gallEry PaNgoliN, thruPP.

IMPRESS’09

GPCThe GPC was set up in 2005 to

provide much-needed specialist

fine art printmaking facilities for

artists in the Gloucestershire area.

The first studio was opened at

Griffin Mill in Thrupp, near Stroud in

September.

There is now a second studio

on the site. Together these two

studios provide facilities for

etching, plate, lithography, screen

printing, relief printing and photo

mechanical processes.

Since 2005,

The GPC has gone from strength

to strength meeting our outlined

objectives of:

- providing a centre of excellence

for Printmakers

- offering courses, educational

events, exhibitions, talks and

demonstrations for the general

public and specific educational

groups (including widening our

remit to the young, the disabled

and other vulnerable groups)

- forming links with other artists

nationally and internationally.

g l o u c E s t E r s h i r E

P r i N t m a k i N g

c o o P E r at i V E

Unit 16c, Griffin Mill

London Rd, Thrupp, Stroud,

Gloucestershire, Gl5 2AZ

t 01453 885100


www.gpchq.org

11G P C

tricia torriNgtoN

Tricia works in many media including

etching, relief print, monoprint, phot-

mechanical methods and alternative

photographic processes. Much of her

work relates to aspects of the human body,

including metaphorical, metaphysical,

emotional and the way the body interacts

and relates to the outside world. Tricia also

uses poetry and text to illustrate her work.

This image is taken from ‘Amaurosis Fugax’

I-XI : a series based on visual irregularities

including temporary blindness (amaurosis

fugax), colour alterations, Idiosyncratic light

refractions, double vision and anomalous

after-images. In this piece carborundum

provided a depth of tone and a sculptural

quality to present the synaesthesia of

replacement, seeing colour where there is

dark, sensing more and feeling differently

when unable to see clearly. The work

culminated in an artist’s book which

juxtaposes short haikuesque poems with

screen-prints.

t 01242 524157


IMPRESS’09

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.

The essence of her work can be located

in the experiential aspects of the creative

process. Drennen’s work has a Zen

like quality illuminating the sacred and

mysterious in the everyday physical world.

Susan lives and works in Gloucestershire,

and exhibits nationally and internationally.

t 01453 873283


www.suedrennen.co.uk

13G P C

aNdy loVEll

‘Drawing and painting are the foundation of

my work imprinting a memory of place and

shape that inevitably informs the final image.

I am drawn to the immediacy of the

screenprinting and monoprinting processes

which both allow and encourage free

interpretation of the initial sketches.

Printmaking is a physical process that is

exacting and exhilarating in equal measure.

The thrill of lifting paper from an inked up

plate or laying down a large area of colour on

a pristine piece of paper never fades.’

‘Ashdown forest’, silkscreen, ed 40,

size framed 102 x 74cm, price unframed £330

t 01452 813 149

m 07976 279 048


www.andylovell.com

IMPRESS’09

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.

‘ 419 Cirencester to Cricklade’ road Kill

series, 78 x 58cm

t 01453 884775


www.soulmovies.com

15G P C

NEil bousFiEld

The artist’s personal practice is concerned

with narrative and visual story telling.

Working exclusively within the medium of

relief engraving, the artist has produced

his first major work “The Cycle”, a novel in

189 engravings which is due for commercial

publication by Manic D Press in March 2009,

under the title of “Walking Shadows”.

The artist is now working on his second

visual novel whilst seeking appropriate

commissions.

‘The Cycle’, vinyl relief engravings

Size cover 18 x 26 cm other images 12 x 15cm

t 01453 821546


www.inkyfingerspress.com

IMPRESS’09

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.

Mill on the Cole’, intaglio print on plaster, ed 4

unframed £170.00

IMPRIMATUR

t 01367 241032


17G P C

lucy orchard

‘Eliza Rowles was my great, great, great,

great grandmother.

Born in 1781, Eliza was the only daughter in a

family of Mariners from Gloucestershire.

At the age of 21 she stowed away on her

father’s ship. The boat was involved in a

terrible storm off Kenya and Eliza was lost

overboard, presumed dead.

Eliza did in fact survive the storm, but it

is only recently that the true extent of her

efforts in Africa has been recognised.

Lost in the wilderness for several years, Eliza

encountered a herd of zebras, many of whom

were sick. After earning the trust of the

animals, Eliza nurtured them back to health

by feeding them on Red Disa, a native plant

of Africa which is now known to contain

phytochemicals with significant antibiotic

and healing properties.

However, whilst the Grevy Zebras are

unfortunately now rare and considered an

endangered species, it is widely accepted

that the work Eliza did with the Grevy’s

saved them from extinction.

Today a plaque is mounted at Saul Junction

in Gloucestershire in recognition of the

Rowles’ contribution to national and

international Maritime history.’

Lucy Orchard lives and works in

Gloucestershire.

‘The Chronicles of eliza rowles’

www.lucyorchard.com


IMPRESS’09

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.

under Milk wood: night

19G P C

liNda mEakiN gPc

Linda was born in Bath, UK, and currently

lives and works in the Cotswolds.

Her work is inspired by abstracting line

from familiar mapping and architectural

references superimposing them one on

top of the other, incorporating aspects of

both modern and historical. In 2005 she

gained a BA (Hons) in Drawing and Applied

Arts and has just recently graduated with

an MA in Multidisciplinary Printmaking at

The University of the West of England.Her

work has been exhibited both nationally and

internationally and has many works in private

collections. She was awarded Jerwood

Drawing Prize in 2005.

‘ultra whisper exchange’, screen print, size 70 x

100cm

t 01453 544508

[email protected]

IMPRESS’09

Artichoke is one of the UK’s

leading professional fine art

printmaking studios -selling

publishing and exhibiting etchings,

lithographs and block prints

by up and coming and

professionally established artists

in the art world. Our reputation is

and commitment to presenting and

exhibiting the best is nationally and

internationally recognized.

We have a wide range of

contemporary original artwork

made in our studio by our artists.

Artichoke offers a full consultancy

service and welcomes all private

and corporate enquiries. Visiting

our studio gallery is a fabulous

opportunity to experience finding

that special piece of art.

We promise a high standard of

professional advice in maintaining,

adding to or starting your art

collection.

Unit S1. Bizspace

245a Coldharbour Lane

London

SW9 8RR

t 0207 924 0600


www.artichokeprintmaking.com/

21A r T i C H o K e S T u D i o S

morgaN doylE

Morgan Doyle is an established Irish printmaker, born in Cork, and situated in London.

His prints are in both public and private collection in the UK. He exhibits his prints

frequently, venues include Frieze Art Fair, London Art Fair, and and recently The Irish

Museum of Modern Art. He lectures in Printmaking at the University of Limerick and is a

recent member of the Royal Society of Painter Printmakers.

‘earth’, Monoprint, 82 cm x 82 cm, £700.00

Paul cathErall

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.

‘oxo red 1’, linocut, ed. 75, unframed, £195.00

IMPRESS’09

barry goodmaN

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.

‘large Blue robot’

collagraph, ed 70

size 56 x 70 cm

price £465.00

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.

‘Sagitarius rising’, lithograph,woodcut and etching, ed. 5, unframed £750.00

23A r T i C H o K e S T u D i o S

mEgaN FishPool RE

Megan Fishpool works at Artichoke Printmaking Studio in South London. She exhibits her

own prints in the UK and her work is in private collections including the USA, and Korea.

She contributes to several publications including Printmaking Today, Art Business Today,

Galleries Magazine and Art Review. Megan also works as a visiting lecturer at a number

of colleges and as an invited artist to printmaking seminars and she teaches a variety of

printmaking classes for both children an adults. She is a long-standing Co-ordinator for

Originals, the annual Contemporary Printmaking Exhibition at the FBA Mall Galleries, London. Originally

born in the USA, Megan completed her MA in Printmaking at Chelsea College of Art, London.

mElVyN PEttErsoN RE,NEAC

Melvyn Petterson RE, NEAC was born in Cleethorpes and studied at Grimsby School of Art

and Camberwell School of Art and Crafts. His works has been widely exhibited in the UK

and overseas. He is a full member of the Royal Society of Painter-Printmakers and has had

several books on drawing published. ‘It might only be black, but its actually every colour

you can imagine.’ MLP

He can be contacted on 020 7924 0600 or email him at [email protected]

‘new world 2’, Monoprint, ed. 1, unframed £500.00

IMPRESS’09

Birmingham Printmakers is a

self supporting group of artists/

printmakers, who practice a wide

range of printmaking techniques.

Our members exhibit worldwide

and many have won national

prizes. We have a thriving and

growing membership, with open

access to our excellent studios in

Digbeth, a newly developing hub

of artists’ studios and businesses.

It is a light and airy ground floor

space, close to bus routes and two

railway stations.

We are open from 7am to 11pm,

and have a part-time technician.

The studio is well equipped for

traditional and contemporary

printmaking processes including 2

intaglio presses, 2 screen printers,

a dark room and photographic

facilities. We have a strong

health and safety ethic, and

have invested in environmentally

friendly processes.

We use the workshop for our own

work, but also have a dynamic,

pro-active approach in the

wider community. Members run

workshops in the studio for the

general public. We also outreach

to schools and community groups

in Birmingham including Full

Potential Arts, Friction Arts, LIEP

(Ladywood Interfaith Educational

Project) and Midland Arts Centres

Classes. We hold exhibitions

in our workshop and in venues

in Birmingham and around

the country. We take part in

Birmingham Artsfest (the biggest

arts festival in the country) and

Birmingham Open Studios.

We are developing close links

with Birmingham Universities,

Colleges, Museum and Art Gallery.

We welcome UK graduates and

offer them workspace for starting

their careers and have funding to

help overseas students. At present

we are have a student from Chile

working with us. This year we

had a grant for teaching inner city

children during the school holidays

via Birmingham Foundation.

As a member of Birmingham

Printmakers, we hope you would

want to get involved in these

activities, and also in the running of

the studio through our committee.

!

Full Membership is £240 per annum

(£20 per month) with no extra costs and

no hourly rates, and includes an induction

course and reduced rates for further courses.

Alternatively, you could become a Friend

of Birmingham Printmakers - £20 per

annum, which entitles you to discounts on

workshops, invitations to participate in

exhibitions and attend private views

90, Floodgate Street, Digbeth,

Birmingham B5 5SR t 0121 766 8545

email: [email protected]

www.birminghamprintmakers.org

!

25B i r M i n G H A M P r i n T M A K e r S

Phil WilkiNsoN

One of my ongoing themes is the exploration

of the rich local cityscape with its range

of architecture which act as man made

geological layers as generations build over,

incorporate or replace buildings. This process

arranges materials, forms and even values

for the viewer. As a member of Birmingham

Printmakers with our workshop in Digbeth l am

familiar with the local environment from which

‘Changing Birmingham’ was a product. I was

attracted to this site, the process of demolition

and the newly emerging skyline of Birmingham

ringing the hollow skeletal shells

sharoN bakEr

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.

t 0121 444 6372 m 07919 253 624


www.sharonbaker.co.uk

‘wedgwood V’, collage of mono prints, size: 54 x 26 cm, framed £325

‘Changing Birmingham’, etching & aquatint, edition: 30, unframed: £150

IMPRESS’09

Victoria liNEhaN

‘on the Hill’, photoetching, edition: 10, unframed £195

carol aNNaNd ARCA

Living and working in Warwickshire.

‘Found in Woodstock....’ is a silk screen print taken from a found scrap. The original was a

small cassette tape label which I found in Woodstock Rd, Moseley, Birmingham. It had

been walked over, cycled over and rained upon. The imperfections I have retained as

they add character to the print. I changed the colours completely and added a goldish

background to give it an icon like feel.


‘found in woodstock....’, Silk Screen, edition: 7

27B i r M i n G H A M P r i n T M A K e r S

solEdad PiNto

Chilean artist (1978) Pinto’s practice explores the space of transience inhabited by subjects, objects, and territories that are experimenting processes of translation: a state of permanent transformation

that confronts them with their potential dissolution and disappearance. “On the Edge” represents a building in process of demolition where the disintegration of its exterior walls confers it the ambiguous

character of being “inside” and “outside” at the same time. The scene is one that only points out the precarious possibility of an improbable recovery or its definitive disappearance.

‘on the edge’, 2008

silkscreen on paper and felt

47 x 104 cm.

www.solepinto.com

cElia NaNcarroW ARBSA

The mystical island of Anglesey has been my inspiration for many years. Its ephemeral light qualities and ever changing moods fascinate me and bring me to return to it time and time again.

I work from my sketch books, to search out the essence of my subjects. The challenge of reflecting the extreme tonal values inherent in the Welsh landscape can be met by the flexibility of

the collagraph. My work can be abstract, figurative or have the simplicity of a Japanese print. Having graduated in Fine Art in Birmingham, I now specialise in collagraphs, The infinite variety

of materials that can be used in creating a

collagraph make this type of printmaking

particularly exciting, and using both methods

of inking up (intaglio and relief) creates a

unique image. I regularly exhibit throughout the

region and was First Prize Winner of a national

printmaking exhibition held at the RBSA, two

years ago. I am at present Chair of Birmingham

Printmakers and have been involved with its

regeneration as a resource facility. We hold

regular printmaking workshops and exhibitions

throughout the country. I am very keen to raise

the profile of original printmaking in general.

IMPRESS’09

Simon Burder set up his stone

lithography studio at Oaks Park, in

the London Borough of Sutton, in

the mid 1990’s. Several times a year,

he offers short courses for small

groups of up to four people. These

are suitable for artists with or without

previous experience of printmaking.

He also welcomes enquiries from

artists who wish to produce editions

of their own work, with or without

assistance. Artists have visited the

studio to work with Simon from many

parts of the UK and from France, India

and Japan. Staff of both the British

Library and V & A Museum have

attended their own specially organised

workshops. These teaching and

collaborative experiences provide a

stimulating context for his own work,

offering ever new ways of seeing the

familiar processes.

The studio is one of a group of

studios in converted stable buildings

on the former estate of the Earl

of Derby, now an attractive public

park. It is equipped with two

direct presses for stone lithography

and stones of various sizes up to

approximately 56x76 cm. There are

also a smaller tabletop intaglio press

and a galley proof press, used for lino

printing.

OAKS EDITIONS LITHOGRAPHY

7 Hotham Road

London SW19 1BS

t 020 8542 4541


www.oaksfineart.co.uk

29o A K S e D i T i o n S

Born 1952, Christopher’s formative years

spent in the North of England, where, as

well as enjoying art he developed a life-long

love of natural history. He studied Zoology

at Imperial College, London, later retraining

as a biochemist, working in medical research

for 15 years in London, North Carolina and

Cambridge.

In mid-life Christopher reinvented himself

as an artist: all his work reflects his love of

nature, and he has been fortunate enough to

visit many remote places, observing at first

hand much of his subject matter.

His colourful linocuts show a little of how

each creature relates to its environment.

150 zoological portraits ( in editions of about

26) have been completed (more under way),

showing something of the beauty, range and

diversity of the animal kingdom. All measure

12”x12”, and are printed in 7 – 12 colours,

usually by reduction from a single lino block.

Chris’s work is highly individual due to his

delicate combination of cutting and caustic

soda etching. He exhibits regularly, most

recently at The Barbican Library, Barbican

Centre, London.

t 020 8543 4623.

www.chriscockburnprints.co.uk

christoPhEr cockburN

IMPRESS’09

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.



NicolEttE cartEr

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.


www.nicolettecarter.com


malcolm FraNkliN

I have been working at Oaks Editions

Lithography Studio with Simon Burder since

2002 producing lithographs on stone. Until then

I had worked mainly as a sculptor: after studying

Fine Art at the University of Wolverhampton,

I took a Master’s degree in Site-specific

Sculpture at Wimbledon School of Art.

I have mainly exhibited in London, but more

recently my work has been seen at other

venues throughout the United Kingdom. In

2007 I took part in Stone.Plate.Grease.Water,

an international lithographic exhibition. Two

recent prints were shown in Sophia, Bulgaria,

at the 7th Lessedra World Art Print Annual

and another two are being shown at the 1st

International Chinese Print Biennial during 2009.

One of the attractions of lithography is the

direct nature of the process—it reminds me

of carving. The way the stone immediately

responds to additive and reductive action

gives an extensive range of possibilities for

mark-making. I often work by subtraction,

another affinity with sculptural practice:

after an initial layering of tusche washes,

asphaltum, crayon, or Lo-shu wash, I take

a print. Depending on the result and on

whether or not I want to introduce other

colours, I delete areas with pumice and

sandpaper, or acid tint.


IMPRESS’09

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.

‘St Enodoc’ developed from visits to the

North Cornwall coast. There is evidence of

human activity, but the church seems so

embedded in its surroundings as to be a

natural feature of the landscape.

I graduated from Exeter College of Art

and was awarded a French Government

Scholarship to study lithography at the Ecole

des Beaux Arts in Paris.

In 1995 I established my own lithography

studio at Oaks Park near Sutton, Surrey,

where I continue to work primarily with stone

and to encourage other artists to discover for

themselves the magical properties of grease

and water. My lithographs are regularly

exhibited in Britain and abroad and have

been collected by institutions including the

British Library, Cambridge University Library,

University of Wales, Aberystwyth and the

Royal Albert Memorial Museum, Exeter.

t 020 8542 24541




oliVEr bEVaN

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

‘Two Generations’, size 29 x 60 cm, ed. 40

prepared on litho stones by the artist at oaks editions

editioned: by Simon Burder

paper: Somerset Velvet white 250 gm2, price £250

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

IMPRESS’09

We provide facilities for artists

from all backgrounds to create

hand drawn original prints on a

collaborative basis with our skilled

printmakers, using any form of

lithography - Stone, Zinc and

polymer coated plates.

Lithography is an extremely flexible

process and uses mark making that

all will be familiar with - pencils,

pastels, paints, stencils etc. Thanks

to the artistic desire to challenge &

experiment, new ways of working

are being discovered making

lithography a truly innovative

process.

Having recently celebrated our

50th anniversary we hope that the

facilities that we have today will

continue for many years to come

to allow artists the freedom to be

creative in print.

The studio is based at Chilford Hall,

a Cambridgeshire country estate,

which includes their own vineyard

producing award winning English

wines.

The Curwen Studio

Chilford Hall

Linton

Cambridge

CB21 4LE

01223 893544

www.thecurwenstudio.co.uk

[email protected]

35T H e C u r w e n S T u D i o

coliN WilkiN

Colin lives and works on the Suffolk/Essex border and gains his inspiration from the

surrounding landscape and how it has been affected by mans interventions past and present.

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.

repairing the Mara Cu

IMPRESS’09

mark hEarld

A fascination with animals and plants always

found its way into Mark’s work at college.

Hen runs and pigeon lofts – appear often in

his images- as in the first Curwen lithograph

(Pigeon Loft) – inspired in part by Picasso’s

pigeons drawn in the South of France

and the E. Ravilious watercolour Corporal

Stediford’s Mobile Pigeon Loft.

He admires Picasso’s drawings over anyone

but feel drawn to the work of Bawden,

Ravilious and Piper from the 1930’s - and

the Neo-Romantic artist/illustrators of the

40’s and 50’s, Keith Vaughan and Craxton

– something to do with their English

particularity of vision.

He teaches illustration part time on the

foundation course at York College, where he

is continually inspired by the creativity of the

students.

The Studio commissioned Mark to do a print to

celebrate our 50th anniversary in 2008 to represent

the company from which we evolved - the Curwen

Press. He has also designed a pattern paper for us.

Allotment: Goat Husbandry, bottom

Bramble & Apple Allotment, top

37T H e C u r w e n S T u D i o

Paul hogarth OBERARE 1917-20 01

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.

Santa Monica Beach

johN bEllaNy cbE ra

John Bellany studied painting at Edinburgh College of Art under Sir Robin Phillipson from

1960 to 1965. He gained an Andrew Grant Scholarship in 1962, taking him to Paris and in

1965 to Holland and Belgium. He studied at the Royal College of Art, London, under Carel

Weight and Peter de Francia. Bellany went on to be Lecturer in Painting at Brighton College

of Art and at Winchester College of Art, Visiting Lecturer at the Royal College of Art and also

at Goldsmiths College of Art. He has also been Lecturer in Painting at Goldsmiths College of

Art and was Artist in Residence at Victoria College of the Arts, Melbourne.

John Bellany is perhaps one of the best known Scottish figurative painters working today.

He has gained a huge reputation in the art world with his unique style. He has created prints

with us for a number of years and ‘The Fish have Gone Away’ is one of a set documenting

the Great Eyemouth Disaster of 1881, where 129 fishermen died in a ferocious storm.

The fish have Gone Away

IMPRESS’09

John Howard Print Studios is a

high-quality and vibrant facility

with opportunities for new and

experienced printmakers to develop

their skills and expertise. Located

in an iconic eco-building on the

waterside in Penryn, Cornwall, with

views to Falmouth, the studio is

developing as a centre of printmaking

excellence with a programme of

workshops, courses and open

sessions. The print studio offers

facilties for printing copper, zinc,

steel and aluminium plate, linocuts,

woodcuts, collographs and monoprints

and can take 10 printmakers with ease.

The studio also provides opportunities

for display and sale of fine art prints and

for demonstrating the art of printmaking

to the wider public.

John Howard Print Studios

t 07870 679061


www.johnhowardprintstudios.com

Unit 4, Jubilee Wharf,

Commercial Road, Penryn, TR10 8FG.

nb. the building is fully wheelchair-accessible.

39J o H n H o w A r D P r i n T S T u D i o S

johN hoWard RE

John worked in industry in the Midlands

for ten years before graduating in 1989

from University of Central England with a

First Class Honours Degree in Fine Art. He

moved to Cornwall in 1995 and now runs

the John Howard printmaking studio as well

as undertaking part-time lecturing in and

out of the county.

Working mainly monochromatically, John

has explored a range of subject matter,

using his particular expertise in exploiting

the qualities of light and experimenting

with form and structure, both natural and

man-made.

‘And all the King’s men’, ed 35, size 29 x

29cm, etching & aquatint, unframed £325

t 07870 679061


IMPRESS’09

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 with aquatint on paper, framed Size: 46.5 x 49.5cm.

‘fading light’, ed 50, size 14.8 x 21.9cm, sugar lift, aquatint etching, paper : fabriano, unframed : £295

bEcky haughtoN

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.

41J o H n H o w A r D P r i n T S T u D i o S

sally sPENs

Sally Spens has worked as a textile designer for over twenty years,

with work selling internationally, particularly in Japan, and included in the textile collections of

the Victoria & Albert Museum. A graduate of Goldsmiths’ College, her return to printmaking is

informed by many years of designing for print and being part of the history of textile design.

“ I see the work as being simply about the beauty of the subject, its

inherant rhythms, and the abstract qualities of the composition. It is in the tradition of the

decorative arts.”

t 01326 340056 m 07733 406 229

‘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

‘night Mare’, photo-etching,Toyobo Plate. size 40.5 x 57 cm

IMPRESS’09

Established in 1976, Spike Print

Studio in Bristol is the largest

open-access print studio in the

South West. Spike Print Studio

seeks to support, challenge and

inspire. Its mission is to provide

exceptional resources, inspiration

and training for artists, and by doing

so, to advance printmaking. The

studio is accessible, being open to

anyone with any level of experience

and provides 24 hour access to

keyholder members.

Spike Print Studio offers a variety

of courses, workshops and

masterclasses suitable for beginners

and more experienced printmakers.

The large, well-equipped studios

and experienced tutors enable

everyone to develop their work and

learn new skills in a professional,

creative and supportive atmosphere.

Our courses are very popular and

known for their quality. The Studio

also offers an Editioning facility and

has recently worked with a number

of contemporary artists, such

as Wood&Harrison, Ged Quinn,

Mariele Neudecker and Sonia

Boyce.

Spike Print Studio is based at Spike

Island Artspace, an international

arts centre, combining working

and exhibition space for the

contemporary visual arts.

Spike Print Studio, Spike Island, 133

Cumberland Road, Bristol, BS1 6UX

0117 9290135


www.spikeprintstudio.org

43S P i K e i S l A n D

ros Ford

Ford is a painter, printmaker and art educator

based in Bristol where she is a member of

Spike Print Studio. Her work is represented

nationally and internationally in private and

public collections including Bolton Museum

and Art Gallery, Bath Royal United Hospital

and Bibliotheca, Alexandrina, Egypt.

She received an MA in multidisciplinary

print in 2008 from University of the west

of England, when she was awarded the

Rebecca Smith Fine Art prize.

Albert Road Viaduct 1 and 11, are from a

series of prints about St Philips, a neglected

district near central Bristol, near her home.

It is a hidden world, seemingly by-passes by

road or rail from above. The large etchings

and aquatints show imagined, elevated

viewpoints emphasising the old relief

railway and footbridge. The work focuses on

juxtapositions of the river Avon, overgrown

vegetation, graffiti, warehouses, security

wires and fences all alongside the evidence

of its working past.

Ford based these etchings on numerous

drawings and photographs made on site.

She continues in the tradition of artists

who work on location and are inspired by

the unordered, the overlooked and the

sideshows of life.

’Albert road Viaduct i’, etching and aquatint 55 x

78 cm, ed 20, unframed £ 275

‘Albert road Viaduct ii’, etching & aquatint 55 x 78

cm, ed 20, unframed £ 275

www.ros-ford.co.uk

IMPRESS’09

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.

‘wish fullfilling Cow’, silk screen, ed 30

size 43 x 39cm, unframed £275


gail masoN

Gail Mason completed her MA in Multi-

Disciplinary Printmaking at UWE in 1994, with a

sell out show of large-scale screen monoprints.

She now bases herself at Spike Print Studio

producing work for galleries, corporate

businesses, educational establishments,

hospitals, theatre commissions, and exhibition.

She has been awarded National Printmaking

Prizes from RWA Bristol and ‘Originals’ Mall

Galleries London, 2008, and her work is held in

private and public collections worldwide.

Her uplifting and reflective abstract silkscreen

monoprints are worked on a generous scale,

which enables the use of gestural painterly

marks, together with fine detail. She explores

the emotional landscapes of the soul, where

rich sumptuous colour contains multi-layered

imagery.

The prints are built up from successive layers

of painting, stencil and scraffito, improvising

using dissonance and harmony around a given

theme. The ‘taste’ of colour is fundamental

to her practice and sets the mood for the

paintings.

The secretive nature and semi-blind process

of painting through a screen forces her to

internalise the formal elements, allowing her to

utilise the chance mark without being inhibited

by the ‘white space’.

Research in aerial photography, the psychology

of colour and Aboriginal ideas of mapping the

land continue to inform her work.

’would you go?, silkscreen monoprint, framed

size 78 x 58cm, far left

‘Busy being beautiful’, two silkscreen monoprints

on backlit perspex, framed in lightbox 98 x 98 x

12cm, price £1,200.00

IMPRESS’09

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”.

Angela is intrigued by the sculptural nature

of letters embossed on paper. The works

illustrated show two such woodcuts. The

first is from Zorba the Greek by Nikos

Kazantzakis. The lettering here is based

on Herman Zapf’s NEULAND typeface,

chosen for its dense texture, and because its

minimal curves make it ideal for cutting. In

the second, ‘Honour to Old Age’, by French

19C journalist Alphonse Kerr, the alphabet

is inspired by the road sign ‘Old People

Crossing’. The quotation is written out in full

at the bottom of each of the limited edition.

‘Honour To old Age’, woodcut, ed 30, framed size

61 x 25cm, unframed £100.00, right

’Dreams’, woodcut, ed 50, framed size 65 x 35cm,

unframed £100.00, far right


FrEa bucklEr

‘Butterfly Circle III’, creen print, ed 18, unframed £240 , left

‘flying lory’, screen print, ed 6, unframed £240

IMPRESS’09

!

The Leinster Printmaking Studio was

founded in 1998 at the Presentation

Convent, Clane, Co. Kildare with ten

members and one printing press. Since

this time, the studio membership has

increased fourfold, with five printing

presses.

In 2003, the Leinster Printmaking Studio

moved to larger premises in Marron’s

Court, Clane, to accommodate the

needs of the growing membership.

The new facility boasts a gallery space

where member’s prints remain on

display for sale to the public.

In response to environmental concerns,

the Leinster Printmaking Studio uses

‘green’ printmaking techniques, limiting

potential damage to the environment

and the practitioners. The Leinster

Printmaking Studio is the only ‘green’

printing studio in the Republic.

The Leinster Printmaking Studio

represents a group of professional

artists, from the wider Kildare area,

coming together to share resources,

knowledge and expertise. The Leinster

Printmaking Studio aims to be a

leading centre for the development of

printmaking and the arts in general, both

in terms of production and education.

The Leinster Printmaking Studio is

committed to the provision of facilities,

which will enable members to produce

work of the highest standard.

t 086 3558 365


www.leinsterprint.com

49l i e n S T e r P r i n T S T u D i o

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.

’turning’, carborandum & drypoint, ed 20

kathEriNE smits.

This print has been inspired through my work on the “bog”. A project , i am involved with at

the leinster print studio. The regeneration by nature of the flora and fauna in minature on the

bog landscape fasinated me, the colours, forms, and the intricate minnitae of the plant life

that reappears from the bog is an ecosystem all of its own. Plants that thrive on water,air,light

and insects. The continual reemergence of growth.

‘Growth’

IMPRESS’09

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’

jEaN dilloN

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.

’rock 1’

51l i e n S T e r P r i n T S T u D i o

gay o’NEill

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’

rEbEcca humFray

I grew up in the countryside, surrounded by the extrodinary rich and diverse

flora and fauna of unimproved chalk pastureland.

I was inspired as a child to try and capture some of these glories on paper.

Printmaling , with its huge range of possibilities and uncertainty of outcome,

make it an exciting medium with which to explore my subject matter

’Making waves’

IMPRESS’09

Leicester

Print Workshop

promote the practise and enjoyment

of fine art printmaking to a wide and

varied audience in the East Midlands

and across the UK. From our studio we

deliver:

Affordable printmaking facilities for

intaglio – etching, mezzotint, drypoint,

collagraph; relief – wood cut, lino cut,

wood engraving, letter

press; lithography; screen printing;

monoprinting; gum arabic and transfer

methods - Specialist knowledge and

technical support in traditional and non

traditional techniques in a well equipped,

well lit, ground floor studio - A varied in

house and off site course programme

running throughout the year, ranging

from introductions to master classes

- An education and outreach programme

for children, young people and

community groups - Editioning service

for practicing printmakers.

We also organise a programme of

exhibitions including Passion 2 Print

our annual members’ show and Small

Print:Big Impression our biennial touring,

mini print exhibition which is open to

makers from across the UK & beyond.

We are dedicatedto breaking down

barriers to participation and a

commitment to artistic excellence.

We welcome experienced printmakers

and new comers.

www.leicesterprintworkshop.com

[email protected]

t 0116 2553534

Leicester Print Workshop

50 St Stephen’s Road

Highfield, Leicester, LE2 1GG.

53l e i C e S T e r P r i n T w o r K S H o P

gEmma Wright

My main interests as a practitioner are printmaking, book art and architecture and their

relationship to each other. I utilise etching and screen printing to explore landscape, more

specifically the impact of the inner city and the urban environment within which we exist.

I develop imagery captured and manipulated through digital photography and collage to

expand representation in connection with experiential, emotive responses to the city; to

put yourself within the work and find your own way through it.

e [email protected] t 07854 073597

hENriEtta corbEtt

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 [email protected]

www.henriettacorbett.com

‘environ iV’, screen-print on BfK rives ed no. 3/10, unframed £90

‘sheet rain’, carborundum print on Fabriano, ed no. 2/20, price unframed £110-00

IMPRESS’09

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.

jilly shorE

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.

t 07787 851512 email [email protected]

‘coming home’, collagraph, ed no: 3/10, unframed £90

‘Viaduct in the Distance’, monoprint, ed no. 1/1, unframed £150

55o C H r e P r i n T S T u D i o

Ochre Print Studio is a new

venture open access print studio,

welcoming and encouraging artists

and printmakers of all abilities to

engage in the creative process of

both traditional printmaking and

contemporary print technology.

Established in 2007, the spacious

facilities include four large

vacuumed screen-printing beds, 2

large textile tables and 2 etching

presses. The studio offer frequent

and varied courses and workshops

and excellent artists talks with

visiting national artists and tutors.

Ochre is based at Lockwood

Day Centre in Guildford, Surrey.

The centre cares for adults with

learning difficulties and is also

home to Lockwood Arts, an

inclusive group of artists with

further facilities for glass making,

ceramics and a forthcoming digital

editing suite.

www.ochreprintstudio.co.uk

t 07988229763

IMPRESS’09

tEssa PEarsoN M.DES.RCA

Tessa Pearson is passionate about colour, and her work is a response to

memories of inspiring images and colours seen on her travels in Europe

and Africa. A successful textile artist, Tessa recently returned to her first

love of printmaking, delighting in the monoprint process with its element of

chance and painterly qualities of mark making. She works mainly in

series, re-visiting a theme many times. Tessa uses multi-plate layering of

colour and textures, together with chin-colle, collagraph and solar etchings

to create bold abstract original prints.

rosE sEbEr

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’

‘Beneath The Pond 3’, monoprint 37x50 cm, framed £265.00


gErry baPtist

The opera Salome has fascinated me

for a long time. Salome’s lust for the

Prophet John the Baptist is so obsessive

and overwhelming that, because she is

humiliated by his rejection, she is willing

to have him killed so that she can possess

him. With text by Oscar Wilde and music by

Richard Strauss, the opera mixes romance

with desire, religious values with the profane

giving this Biblical story a hedonistic appeal.

She could so easily be part of our consumer

society, forever grasping for more.

Wanting to evoke the atmosphere of

tension and passion in the opera, I’ve

made comparisons with reality TV which

gives participants who crave celebrity the

opportunity to achieve their aims. I’ve used

collaged image fragments from old comics,

magazines and books, as well as my own

drawings and manipulated photographs, to

try to capture the sensations of the story and

our ambiguous relationship with desire and

stardom.

The images are printed on a hexachrome

machine using CMYK colours plus orange

and green which increases the colour range

enormously. Screenprint varnishes have also

been used. Photo etching prints have been

added to certain images

‘Don’t mess with me’, hexachrome digital print,

screenprint varnish & photo etching, ed 30, size:

40x40cm, price £250

www.gerrybaptist.co.uk

IMPRESS’09

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 WW1 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.

‘The inheritance’, lithograph & chine collé,

somerset paper & tissue, ed 1, size 76 x 57 cm,

framed £500

susaNNa harris hughEs


mElaNiE gairNs

Melanie is a fine artist whose work is primarily

concerned with past memories, present experiences and future aspirations being

intricately linked to the objects within the domestic sphere providing a sense of belonging

and shaping identity. Melanie uses traditional printing methods,

photography and digital media to document her

interaction with everyday objects and personal items that comprise her domestic

environment. They are familiar yet mundane, giving a sense of routine and associated

boundaries of time, context and person in conjunction with security and a necessary

grounding. These objects often anchor memories and emotions evoking attachments.

‘Shaping identity’

juliE hoylE

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

‘Tree called life’, digital and screen-print, price £245

IMPRESS’09

Double Elephant Print Workshop

is a not-for-profit open access

printmaking resource based in

Exeter.

The aims of DEPW are to:

* provide open access to fine

art printmaking resources and

equipment

* to encourage and support people

to discover their creativity

* offer a range of courses in

printmaking including outreach

to schools and hard-to-reach

community groups.

* provide high quality exhibitions,

print sales and an editioning service.

* be committed to maintaining

an enjoyable, accessible,

environmentally healthy and

solvent-free working environment.

DEPW currently has over 50 artist

members from Devon, Cornwall,

Dorset and Somerset. We support

professional and semi professional

artists as well as those new to

printmaking. We work with an

average of 700 children and 500

young people and adults through

our outreach programme each year.

Around 200 adults attend DEPW

courses each year. Most of our

work is based throughout Devon,

but our outreach extends across

the South West.

Old Bakery Studios,

Spicer Road, Exeter,

Devon, EX1 1TA.

t 07855 206 659


www.doubleelephant.org.uk

61D o u B l e e l e P H A n T

simoN riPlEy

Simon Ripley’s work speaks of a numinous

world which is not the everyday and not

what is precisely seen, inspite of the titles.

It is a world dependent on what is not quite

seen and not quite understood because it

is not dependent on words; it is a different

kind of articulation. These are abstract

forms which relate to sensations and ideas

and meditations on themes which are as

old as the hills. They are both exuberant

declarations of what colour can do in relation

to shape, line and form and invitations to

think differently about the material world.

Katy Macleod, Writer, Educator, Art Critic

and Theorist.

‘Desire’, monotype, framed size 77 x 60cm,

framed £850

www.simonripley.co.uk

IMPRESS’09

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.

My prints are produced mainly using

Perspex for plates and the images are then

scratched, burnt or etched onto this, using

many different tools and etching mediums

to produce an innovative printing style. This

includes monoprint and drypoint along with

experimental techniques.

The work starts with simple lines and

sketches, taken directly from the landscape,

the final picture is the distilled image to its

simplest and purest form. Many of my prints

take inspiration from traditional Japanese

images, which I rework from my western

perspective to produce an image where

these margins are blurred. My recent work

is exhibited in a number of galleries in the

South West.

‘Dartmoor’, etched perspex with chine colle,

4 monoprint variations of theme, framed £150

www.sallyhebeler.com


robiN duttsoN

www.robinduttson.com

Multi Apple Blossom,

lino cut, size 66 x 91cm.

ed 30,

unframed £795.00

Blossom with Birds (detail ), lino print, 122 x 152cm, ed 10, unframed £2,500.00

IMPRESS’09

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


lyNN bailEy

My original training in the 1980’s gave me

a solid grounding in traditional printmaking

processes, including traditional etching.

But being involved with Double Elephant

Print Workshop since it’s inception over

ten years ago, I have had the opportunity

to experiment with more environmentally

friendly methods. I find that there is still the

same alchemy and excitement with acrylic

resist etching as for traditional etching but

without the need to use organic solvents and

other hazardous materials.

Through my work I strive to express

something about the physicality of a

landscape and use it as metaphor for the

vitality of change and renewal as well as

a comment on how we interact with the

land. The resulting images emerge from

experimenting with different ways of

combining contradictory elements.

Lark Ascending – Over Landfill is celebration

of how what was once the largest municipal

tip in Exeter is now vital for wildlife. An

important part of creating my artwork is the

collection of samples and materials from

areas I’m studying. I frequently gather plants,

litter and soil samples and use them in the

printing process. But here I have chosen

to represent the larks with a section of the

music score from Vaughan Williams Lark

Ascending.

lark Ascending – over landfill’,

etching, edition 10, framed £280

www.doublelephant.org.uk

‘

IMPRESS’09

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.

As a printmaker I am always seeking to

explore new techniques and methods,

turning to organic and purely geometric

shapes, as well as landscape, for inspiration.

I work almost exclusively in relief

printmaking, where the incised line is both

physically cathartic and permanent.

Over the last couple of years my work

has moved into the entirely abstract, and

my most recent series of prints (the Jazz

series, of which Boplicity is the first) are

contemplative explorations of colour and

shape. Taking my initial cue from abstract

organic forms the prints start life as

paper collages and sketches before being

translated into relief prints, where colours

are layered to give transparency, texture and

depth to the image.

‘Boplicity’, relief print/ linoprint, edition 5,

size framed 50 x 50cm, price £150

www.speckprints.com

67G A l l e r y PA n G o l i n

As one of the few galleries to

specialise in sculpture and related

drawings and prints, we have

rapidly established a reputation for

works of quality and excellence by

both modern and contemporary

artists. Sculptors regularly shown

at the gallery include Anthony

Abrahams, Ralph Brown, Jon Buck,

Lynn Chadwick, Ann Christopher,

Terence Coventry, Peter Randall-

Page and William Tucker.

The initial inspiration for the gallery

was the need for a showcase

for the excellent sculpture

cast at Pangolin Editions. We

later discovered that we were

coincidentally reviving the 19th

century tradition of an association

between art foundry and gallery.

Over the past 17 years we have

expanded enormously and now

embrace a whole range of activities

including major one-man shows,

publications and collaborations with

galleries and museums. We also co-

ordinate public commissions, curate

exhibitions and act as artist’s agents.

t 01453 886 527

f 01453 731 499


www.gallery-pangolin.com

IMPRESS’09

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.

A skilled metalworker, Fallis has always been

concerned with transforming surfaces and

with craftsmanship. Many of her pieces also

express a characteristic double-edged sense

of humour. Her recent preoccupation with

the environment, especially the plundering

of our oceans and their resources, has led

to a series of powerful statements about

pollution, falling fish stocks and our own

responsibility for the crisis. Her series of

prints of fish species accompanies three-

dimensional works such as ‘Holy Mackerel’,

‘Fish and Chips’ and ‘The Fast Supper’.

One of the most exciting up and coming

young artists working in Britain today, Abigail

Fallis is the first Artist in Residence at Kings

Place, a new cultural centre in Kings Cross,

London.

‘only Here for the Halibut’

photographic print on watercolour paper

ed.10, size 90 x 150cm


tErENcE coVENtry

Born in 1938, Terence Coventry studied at

Stourbridge School of Art and the Royal College.

Rooted in a strong figurative tradition,

Coventry’s sculpture explores familiar

animals such as birds, bulls, and boars. The

human figure is another preoccupation to

which he frequently returns. Having spent

many years living and working in Cornwall,

the stimulus of the land and its occupants

is central to his art: their ruggedness and

gentleness, their movement and behaviour.

Through a harmonious synthesis of these

contrasting facets, Coventry expresses

his fundamental relationship with the

environment and produces images of great

power and tenderness.

Alongside sculpture, drawing is central to

his practice and printmaking has become

a natural extension of this. He approaches

it with the same energy and verve that he

applies to his three-dimensional work and

his studies of birds, beasts and figures are

strong, textural and dynamic.

Terence Coventry exhibits widely and

regularly and many of his sculptures are held

in public and private collections throughout

Britain and in USA.

‘Boar’

lithograph, ed.25, size 35 x 50cm

IMPRESS’09

Lynn Chadwick is one of the giants of

twentieth century sculpture. His work spans

fifty years and includes over a thousand

pieces.

He first came to prominence when he was

one of the twelve semi-finalists for the

Unknown Political Prisoner International

Sculpture Competition in 1953 and he went

on to win the International Prize for Sculpture

at the 1956 Venice Biennale. Many honours

and awards followed and Chadwick’s work

is a cornerstone of all major international art

collections. In Autumn 2003, a retrospective

exhibition of his work was held at Tate Britain

in London.

He not only produced a thousand sculptures

but many graphic works which span every

decade of his career. Printmaking was

always of major significance to him and he

explored both monoprint and lithography

with characteristic energy and ingenuity.

Throughout his long and distinguished

career, Chadwick’s work kept a relevance

and individuality. With his unique and

singular language he evolved a range of his

own archetypal figures and beasts which

have become iconographic and instantly

recognisable as his.

‘Seated woman’ 1972,

lithograph, ed.99, size 62 x 80cm

lyNN chadWick RA 1914–2003


William tuckEr

Born in 1935, William Tucker studied at the

Ruskin School of Drawing, Central School

of Art and Design and St Martin’s School of

Art. In 1972 he represented Britain at the

Venice Biennale and in 1974 published his

highly successful book ‘The Language of

Sculpture’. Tucker has lived and worked in

USA since 1978.

From the early experimental and highly

abstract constructions, often involving

geometric elements and bright colour,

Tucker’s work has gradually evolved to

become more figurative and expressive. His

return to modelling in the 1980’s has led to a

series of works experimenting with scale and

mass. Continuously investigating the nature

of sculpture itself, Tucker’s powerful and

dynamic forms suggest narrative yet retain

an ambiguity and spontaneity.

Though he does not enjoy printmaking as

a means of making multiples, in 1987 he

made a series of monotypes, working with

Garner Tullis at studios in Oakland and Santa

Barbara. The images produced share the

expressive quality and emotional strength of

his three-dimensional work. Tucker recalls

the process of drawing directly onto the plate

with a brush or rag as ‘a great experience in

terms of direct invention in response to an

exciting process.’

‘ XX’

monoprint, size 83 x 64cm

IMPRESS’09

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


aNthoNy abrahams

Anthony Abrahams was born in 1926. After

graduating from Cambridge with and Arts

degree, he studied at the Anglo-French Art

Centre in London and now lives and works in

Gloucestershire.

Abrahams’ carefully poised, enigmatic

figures follow a tradition in British art

that began in the 1950’s with sculptors

such as Armitage, Butler, Chadwick, Frink

and Meadows. More recently, he has

concentrated on the exploration of printing

methods including solar prints, drypoint and

monoprints. He handles this new medium

with characteristic dexterity, producing

images of great charisma and poignancy.

His emblematic figures, caught in playful

postures, remind us of ourselves and of

those familiar to us.

Abrahams’ work is in private collections in

the UK, USA and Europe. His most recent

major sculpture can be seen at Kings Place,

Kings Cross, London.

‘January 17’ 2005

monoprint, size 40 x 30cm

IMPRESS’09

GPC PieCe to Come

75G P C

daViNa WyNNE-joNEs

‘revolving Tree edition 1’, etching mounted on board.

t 01285 851457

Rose Cottage, London Road, Poulton,

Cirencester, GL7 5JG.

IMPRESS’09

gill salWay

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


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


www.denisemason.co.uk

‘Dragonflies, etching, size 42.5 x 32.5cm, price £95 ‘Batterie de Cuisine 1’, collagraph’ ed 5, unframed £75

77G P C

marta lombard

I trained at St Martins Central School, London where I first did stone lithography, then

at York College of Arts and Technology p/t where I printed off zinc lithography plates.

I taught art in York and when I moved to Bristol, taught art and lithography at Weston-

super-Mare College. At Rutgens University in Jersey, USA, I did lithography on stone

and also woodcut prints. Back in England, I still wished to continue printing off stone. I

joined Bath Printmakers but still searched a place to do stone lithography. At last I found

Gloucestershire Printmaking Co-op in Thrupp.

The physical act of preparing the stone, the drawing with crayons and inks, resulting in

subtle textures and tones. Then with gum and acids blocking the non-printing surface.

The rolling (with big leather rollers) of greasy ink on a wet stone and printing cannot be

bettered for satisfaction.

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.

‘fabrick of a Vision’, giclée print, size 102 x 83cm, ed 20, unframed £350

IMPRESS’09

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.

Taking up Fine Art, Jane has recently gained

a BA (Hons) in Drawing and Applied Art at

the University of the West of England and

a Post-Graduate Diploma in Life Drawing at

Barcelona University. Although she practices

in various media, she has focused on

printmaking, and is one of the few who work

on stone, which suits her expressive style.

Her strongly narrative lithographs and screen

prints poke fun at the similarities between

humans and other animals, as she abandons

attempts to be the dispassionate observer

and gives full rein to her imagination.

fandango’’ ed 6 /12

t 01453 763265


11 Castle Street

Stroud

GL5 2HP ‘

79G P C

rosaNNa mahoNy

This artist is well known for her vibrant

and textured colourful prints. She has

developed from fine multi coloured etchings

to Collographs and Monoprints, sometimes

using collage and mixed media and other

innovative techiques.

Rosanna has specialised in printmaking

since completing her diploma course at the

Byam Shaw in London in the 70s. Since then

she has travelled and exhibited all over the

world, including Africa where she set up a

Print Workshop and School in Johannesburg.

She has had many one woman shows and

has exhibited regularly at the RA in both

London and Bristol.

Rosanna currently runs small private

workshops at Ruskin Mill, Nailsworth.

“At Rutgens University in Jersey, USA, I

did lithography on stone and also woodcut

prints. Back in England, I still wished to

continue printing off stone. I joined Bath

Printmakers but still searched a place

to do stone lithography. At last I found

Gloucestershire Printmaking Co-op in

Thrupp.”

The physical act of preparing the stone, the

drawing with crayons and inks, resulting in

subtle textures and tones. Then with gum

and acids blocking the non-printing surface.

The rolling (with big leather rollers) of greasy

ink on a wet stone and printing cannot be

bettered for satisfaction.

t 01453 762231

IMPRESS’09

FraN christEN

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

‘Trees’, monoprint on Japenese tissue, ed 4,

unframed £120

t 01453 833354

m 07957 674255


81G P C

carlos ordoNEz

Carlos Ordonez was jointly responsible, with

local photographer Fred Chance, for the

PhotoStroud Festival of Photography, held

in October 2007, and continues to develop

publishing initiatives and projects with that

organisation. He is an active member of

GPC and is particularly involved in a group

developing photogravure and photo-etching

work, alongside his drawing and painting.

He has recently concentrated on curating

printmaking exhibitions on behalf of the

Co-op and, as part of his work as a member

of the Impress 09 Festival organising group,

has been responsible for forging links with a

workshop in Havana that has resulted in the

Cubans’ participation in the Festival.

‘Spanish Torso ii’

01453 824212

07970 258151

[email protected]

IMPRESS’09

tuula joutsEN

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.

Much of her inspiration is taken from nature-

indeed, you can see the forms of flowers

clearly within her work-but it has an abstract

quality,too.” I sometimes describe my

work as ‘doodling’, Tuula says”I play with

techniques in printmaking to create flowing

forms of different kinds; I print different

colours on top of each other, or sometimes I

work with the same colour, turning the plate

and printing again and again. I never know

what will be- that’s part of the beauty of the

finished work.”

Tuula has been a member of the

Gloucestershire Print Cooperative for three

years, and she also works for them as a tutor

and print technician.

83G P C

maxiNE rEltoN

For some years, Maxine has been

exploring notions of fragmentation,

divergence and disconnection that

she sees reflected in the world today.

During the printmaking festival,

Maxine will also be showing an on-

going series of large woodcuts which

are highly autographical, drawing

their inspiration from key moments

in the artist’s childhood or emerging

from a highly charged present

experience.

Maxine shows her work regularly

at the Royal West of England

Academy (where she is an elected

Academician), with Spike Print

Studio and the Printmakers’ Council

of which she is also a member,

and other exhibitions throughout

the country. She runs a variety of

creative art workshops at home and

abroad, extends her practice into

colleges and schools and has had her

work featured in various publications

as well as on television. Her 3-floor

studio gallery and working studio

is open to visitors throughout the

festival as well as any other time by

arrangement.

‘Approaching the ridge (detail )’,

monoprint, framed £550

t 01453 832597


Studio Gallery

5 The Street,

Horsley, Stroud,

Gloucestershire, GL6 0PU.

IMPRESS’09

85A D V e r T i S i n G

IMPRESS’09


Perfect ReproductionYOUR WORK IN PRINT

[email protected] 01622 750884

LB Card.qxp:LB Card.qxp 5/1/09 15:48 Page 1

IMPRESS’09

“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!” SUEDRENNENfounderGPC

Thank you to the following for providing festival funding:

STROUD DISTRICT COUNCILSTROUD TOWN COUNCILSTROUD FESTIVAL ALIAS

And to those who have provided support in kind:

Andrew Lovell for catalogue, publicity materials and website designCarlos Ordonez for publicity including Pre-Impress ’09 exhibitionChris Smith for framing prints from the Curwen and CubaChris Oldroyd for printing of posters and invitesWaitrose Stroud for sponsoring the Festival launch Stroud District Council for support at The Museum in the ParkStroud Valleys’ Artspace

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.

The Coordinators: Sue Drennen, Christine Felce and Jane Henriques

ACKNOWLEDGEMENTS

design - andy@andylovel l .com m.07976 279 048

9 781565 924796

ISBN 978-1-56592-479-6

impress'09 printmaking festival stroud 2009

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