G LO 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

GPc

NATIONAL PRINTMAKIN
G FESTIVAL STROUD
C atalogue
IMPRESS’09
IM P R E S S ’ 0 9
N AT I O N A L P R I N T F E S T I VA L S T R O U D

foreword by N o rman A kroyd RA RE

Printmaking has always been changing - ever since Gutenberg, printmakers are made. Festivals give artists the chance to collaborate and to think about
have been adapting and finding new methods for making plates and printing experimenting. For the artist the picture they are making is the most important
them. Artists take hold of new ideas and push them in innovative directions thing but the technique as to how they made it is also fascinating.
and that is why a festival like IMPRESS is so important because festivals Non-printmakers often don’t know what fine art printmaking is about, there
like this give artists the opportunity to meet, discuss, debate and show are even insecurities among collectors, it can be difficult just to understand
what can be done. Festivals give the public and artists the opportunity what an original print is as opposed to a reproduction. Festivals give
to learn and people learn with their eyes, they look at a print and ask everyone a chance to look and learn, to discuss and debate. I have been
‘how was this done?’. There are the standard ways of making prints and involved with many National and International print concentrated projects
plates but there are also new ways - for example we have digital printing and have found they give us the chance to combine an interest in art with
and combinations of this with standard techniques, and the ability to use learning something new about a locale and simply just to have fun. Stroud is
computers to help make plates. There are all sorts of ways to bring in new a remarkable area to explore and the Festival will give people – and me – a
possibilities, sometimes it doesn’t work but sometimes real breakthroughs chance to discover it.

Tric i a To rr i n g t on CHAIR GPC

The aims of setting up the IMPRESS’09 National Printmaking Festival were Perhaps organising a Festival of this prominence and this breadth in a
simple –to provide a dynamic forum to promote contemporary printmaking, recession was ambitious but this catalogue and the series of exhibitions,
in Gloucestershire and located in the Stroud Valleys in particular. This talks, demonstrations and workshops that support the Festival show that
forum was to encourage, inform and excite the public about what fine Printmaking is very much alive and kicking. This catalogue celebrates
art printmaking actually is, and to offer contemporary printmakers the printmaking and print workshops from England, Wales and Ireland, as well
opportunity to exhibit, learn, meet and discuss. as providing a platform for some International artists. We hope this will
It was agreed early on that IMPRESS’09 Festival was to be a dynamic and prove a reference tool for both printmakers and for all those interested in
inclusive month-long event, showcasing some of the best in contemporary print over the next few years.
British printmaking and featuring invited artists of stature.

 1
IMP RES S’0 9
 Curwen Std 4 Malcolm Franklin 31 Tessa Pearson 56
CO N T E N T S Norman Ackroyd 5 Simon Burder 32 Rose Seber 56
ENItharmon 6 Sophie Dickens 33 Gerry Baptist 57
Off Centre Gallery 7 Oliver Bevan 33 Susanna Harris Hughes 58
Masako Seo 7 The Curwen Studio 34 Melanie Gairns 59
Wojciech Pakowski 7 Noel Myles 35 Julie Hoyle 59
Yukari Yoshimoto 7 Colin Wilkin 35 Double Elephant 60
GPC 10 Mark Hearld 36 Simon Ripley 61
Tricia Torrington 11 John Bellany 37 Sally Hebeler 62
Susan Drennen 12 Paul Hogarth 37 Robin Duttson 63
Andy Lovell 13 John Howard Print Std’s 38 Emma Molony 64
Christine Felce 14 John Howard 39 Lynn Bailey 65
Neil Bousfield 15 Jason Lilley 40 Jeremy Speck 66
Geoff Smith 16 Becky Haughton 40 Gallery Pangolin 67
Lucy Orchard 17 Sue Corke 41 Abigail Fallis 68
John Huntbach 18 Sally Spens 41 Terence Coventry 69
Linda Meakin 19 Spike Island 42 Lynn Chadwick 70
Artichoke Studios 20 Ros Ford 43 William Tucker 71
Morgan Doyle 21 Chitra Merchant 44 Peter Randall-Page 72
Paul Catherall 21 Gail Mason 45 Anthony Abrahams 73
Colin Gale 22 Angela Holland 46 GPC members and friends
Barry Goodman 22 Frea Buckler 47 Davina Wynne-Jones 75
Melvyn Petterson 23 Lienster Print Std 48 Denise Mason 76
Megan Fishpool 23 Dedre Shanley 49 Gill Salway 76
Birmingham Prntmkrs 24 Katherine Smits. 49 George Richards 77
Sharon Baker 25 Amelia Peart 50 Marta Lombard 77
Phil Wilkinson 25 Jean Dillon 50 Rosanna Mahony 78
Victoria Linehan 26 Rebecca Humfray 51 Jane Henriques 79
Carol Annand 26 Gay O’neill 51 Carlos Ordonez 80
Soledad Pinto 27 Leicester Print Wrkshp 52 Fran Christen 81
Celia Nancarrow 27 Gemma Wright 53 Maxine Relton 82
Oaks Editions 28 Henrietta Corbett 53 Tuula Joutsen 83
Christopher Cockburn 29 Nichola Hingley 54
Kate Wilson 30 Jilly Shore 54
Nicolette Carter 30 Ochre Print Std 55

 3
 part of ‘Collaborations: Three In One’ exhibition at The Museum in the Park, Stroud

‘Celebrating 50 Years Of The Curwen Studio’

The Studio was set up in 1958 to with the studio over the years is Lithography is very flexible and charcoal and stencils.
provide a facility for artists to work like a roll call of Modern British gives a wide range of mark- Both individuals and groups are
collaboratively with our experienced Contemporary Art. making, ranging from fine line to welcome to visit the studio and
printers to create original prints. We offer facilities for all forms solid blocks of colour. Because encouraged to have a go if desired
Prior to this it was very uncommon of lithography and have a world- the layer of ink is relatively thin, - leaving with their own original
for British artists to practice renowned reputation for producing it is also possible to make use of prints.
collaborative printmaking as they work of the highest standard. overlapping colours. Artists enjoy
normally had to go abroad if they The materials used are archival, the simplicity of lithography and
t 01223 893544
wished to do so. The range of ensuring that the quality of the the range of tools and media used, email jenny@thecurwenstudio.co.uk
artists that have produced work work will last. which include brushes, pastel, www.thecurwenstudio.co.uk

‘Printing with Spirit’, by Mark Hearld, ‘The Unicorn Artist’, by Paula Rego, ‘Kiss at Tower Bridge’, by Antony Micallef,
ed 50, size 73 x 93.5cm, unframed £ 350.00 ed 50, size 85 x 62cm, unframed £1800.00 ed 50, size 73 x 99cm, unframed £2500.00

IMP RES S’0 9

 Norm a n 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
been taken from selected public collections
in Europe, the US, Canada, (including the
British Museum London, MOMA (New
York) and the National Galleries of Scotland,
South Africa, Norway and Canada, the
Rijksmuseum Amsterdam and the Royal
Collection at Windsor Castle.

Norman has been interested in working

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

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

C ur w e n S tu d i o 5
 part of ‘Collaborations: Three In One’ exhibition
at The Museum in the Park, Stroud. ‘The Artists’ Book Collection’

IMP RES S’0 9

 OFF CENTRE
G A L LERY
contemporar y art on paper

For twenty years the Off Centre Gallery, or triennials. In 1986 on his first visit More recently he has participated in processes of contemporary art. In 2010
Bristol, has promoted printmaking with to Lodz, Poland, he met artists from and travelled to see exhibitions in South when a larger international exhibition
a focus on work from outside the UK. Bulgaria, Russia, Japan and India as well Korea and China. Some of the exhibited is planned to take place here in Stroud
Contact with these artists has, in the as the host country and immediately work is identifiable with a particular there will be further opportunities to
main, come about through artist Peter began planning to show their work in visual culture while other artists place consider and compare impressions
Ford’s participation in exhibitions abroad, the UK. Since that time he has made themselves within the more generalised worldwide.
t 0117 987 2647
several of which recur as biennials several visits to Russia, Japan and USA. language, preoccupations and
e-mail: offcentre@ lineone.net

Masako Seo Wojciech Pakowski Yukari Yoshimoto

‘Deep Forest’, woodcut, size 96 x 59cm ‘Landscape with Hero’, carborundum etching, size 60 x 75cm ‘Shake Hands Please’, drypoint, size 24 x 14cm

O f f C e n tr e G a l l e r y 7
IMP RES S’0 9
NAT I ONAL P R I NT EX HIBITION at Subscription Rooms, Stroud.

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, contemporary prints in their widely varied forms are proving to be highly
desirable and affordable purchases in the eyes of the buying public and specialist 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
rich 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. IMPRESS’09 was thus born, a testimony to the vision, energy and determination of Drennen together with 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 our future art calendar.
Maxine Relton

n b . Pa n g o l in Art ist s a r e s howing at Gallery Pangolin, Thrupp.

O f f C e n tr e G a l l e r y 9
GPC
GLOUCESTERSHIRE
P RI N TMAKI N G
COO P ERATI V E

The GPC, situated in Stroud, is run a full programme of workshops

the only public-access studio and short courses at all levels in
for printmakers and would-be these and other techniques, inviting
printmakers in this county. Since highly experienced teachers from
our inception in 2005 we have all over the country to join our own
developed facilities for a broad team of teacher-members. We have
Unit 16c, Griffin Mill
range of printing media, including several membership categories
London Rd, Thrupp, Stroud,
stone lithography, etching and and invite all who are interested to Gloucestershire, Gl5 2AZ
aquatint, screen print, relief print and get in touch and join our creative t 01453 885100
email info @ gpchq.org
photo-mechanical processes. We community of artists-who-love-to-print.
www.gpchq.org

IMP RES S’0 9

 T ricia Torrin gton
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.

‘Oculus’

t 01242 524157
email triciahenry@ blueyonder.co.uk

GPC 11
Susan Drennen
Born in 1960, Susan Drennen studied
genetics at Cardiff University, retraining
as an artist in the 90’s studying for 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 to provide 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
email sue@suedrennen.co.uk
www.suedrennen.co.uk

IMP RES S’0 9

 Andy Lov e ll
‘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
email andy@ andylovell.com
www.andylovell.com

GPC 13
Christine Felce
Christine Felce studied Fine Art
Printmaking and Film (RCA).
She 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 on it 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
is that all objects should be Beautiful,
Useful and Durable, which she considers
is a great guideline for making anything.

419 Cirencester to Cricklade’ Road Kill series,

size 78 x 58cm

t 01453 884775
email soundadvice@ boltblue.com
www.soulmovies.com

IMP RES S’0 9

 Ne il B ousf ie ld
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 whilest seeking appropriate
commissions.

‘The Cycle’, vinyl relief engravings

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

t 01453 821546
email prints@inkyfingerspress.com
www.inkyfingerspress.com

GPC 15
Geoff Smith
Geoff trained at North Oxfordshire School of
Art and has a studio in Faringdon.
Whilst his work focuses on intaglio etching,
he uses various techniques to amplify the
subject’s portrayal, with the use of colour,
texture, typeface and, in the case of
“ Mill on the Cole”, by creating a print on
plaster. The mill is a 17th century water mill
that revealed historical time line images
during renovation which inspired a series of
prints for exhibition, published as a limited
edition collector’s book. He has exhibited
at both solo and group shows within
Oxfordshire as well as at the affordable
Art Show in London & Bristol and the NEO
gallery in Cumbria.
He is a member of GPC and Imprimatur
Printmakers, who are exhibiting in
IMPRESS’09.

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

unframed £170.00

IMPRIMATUR
t 01367 241032
email geoffsmith111@tiscali.co.uk

IMP RES S’0 9

 L ucy O rch a rd
‘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.
While 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
email lucyorchard @ lucyorchard.com

GPC 17
John Huntbach
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’

IMP RES S’0 9

 L in da M e a kin

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 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 she has many works in
private collections. She was awarded the
Jerwood Drawing Prize in 2005.

‘Ultra Whisper Exchange’, screen print,

size 70 x 100cm

t 01453 544508
lindameakin@hotmail.com

GPC 19
Artichoke is one of the UK’s We have a wide range of We promise a high standard of
leading professional fine art contemporary original artwork professional advice in maintaining,
printmaking studios, selling, made in our studio by our own adding to or starting your art
publishing and exhibiting etchings, artists. collection.
lithographs and block prints Artichoke offers a full consultancy
Unit S1. Bizspace
by up-and-coming professional service and welcomes all private
245a Coldharbour Lane
artists. Our reputation and and corporate enquiries. Visiting London

commitment to presenting and our studio gallery is a fabulous SW9 8RR

t 0207 924 0600
exhibiting the best is nationally and opportunity to experience finding
email artichoketrading @ btconnect.com
internationally recognized. that special piece of art. www.artichokeprintmaking.com/

IMP RES S’0 9

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 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

‘Oxo Red 1’, Linocut, Ed. 75, unframed, £195.00

Paul C at h e ra ll
Paul Catherall is a London-based printmaker and illustrator.He is re-knowned for his clean,
sharp linocuts of architectural landmarks, which have become highly collectable, made
popular by his participation in numerous solo and group shows, as well as his commissions
for figurative illustrations for high-profile clients. His inspiration is drawn from classic mid
20th century poster design, propaganda art from the Soviet era and the work of artists
such as William Nicholson. His subject matter has included the Elephant and Castle
Shopping Centre, Canary Wharf, Battersea Power Station, the Tate Modern and several of
New York’s most iconic landmarks.

A rtich o k e S tu d i o s 21
 B a rry G ood m a n
Barry Goodman originally intended to become an architect, but studied Graphic Design
instead at Reigate School of Art and Design, before pursing a successful career in Design
and Illustration. He studied printmaking at The London College of Printing.
His design background led into larger graphic prints and paintings which now adorn walls
as far apart as Streatham and San Francisco, New York and Naples. He has been featured
in various magazines and publications including Artist and Illustrator and Tegneren - a
Danish arts publication. His work is published by The Almanac Gallery, Paperhouse and
Quarto. He lives and works in London.

‘Large Blue Robot’

collagraph, ed 70
size 56 x 70 cm
price £465.00

‘Sagitarius Rising’, Lithograph,woodcut and etching, Ed. 5, unframed £750.00

Colin Gale RE
Colin Gale RE is a director and founder member of Artichoke 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’ andthe co -author of ‘The Instant Printmaker’.
He lectures on printmaking in colleges, schools and printmaking studios throughout the UK.

IMP RES S’0 9

Melvyn Petterson RE NEAC
Melvyn Petterson 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 it’s actually every colour
you can imagine.’ MLP
He can be contacted on 020 7924 0600 or email him at mpetterson2@ btinternet.com

‘St. Davids Bay’

‘New World 2’, Monoprint, Ed. 1, unframed £ 500.00

M ega n Fish p ool 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.

A rtich o k e S tu d i o s 23
Birmingham Printmakers is a We use the workshop for
! our own we have a student from Chile Full Membership is £240 per annum
(£20 per month) with no extra costs and
self supporting group of artists/ work, but also have a dynamic, working with us. This year we
no hourly rates, and includes an induction
printmakers, who practice a wide pro-active approach in the had a grant for teaching inner city course and reduced rates for further courses.
range of printmaking techniques. wider community. Members run children during the school holidays Alternatively, you could become a Friend
of Birmingham Printmakers - £20 per
Our members exhibit worldwide workshops in the studio for the via the Birmingham Foundation.
annum, which entitles you to discounts on
and many have won national general public. We also outreach As a member of Birmingham workshops, invitations to participate in
exhibitions and attend private views
prizes. We have a thriving and to schools and community groups Printmakers, we hope you would
growing membership, with open in Birmingham, including Full want to get involved in these 90, Floodgate Street, Digbeth,
Birmingham B5 5SR t 0121 766 8545
access to our excellent studios in Potential Arts, Friction Arts, LIEP activities, and also in the running of
email: celia@ anchorage.eclipse.co.uk
Digbeth, a newly developing hub (Ladywood Interfaith Educational the studio through our committee. www.birminghamprintmakers.org

of artists’ studios and businesses. Project) and Midland Arts Centres

It is a light and airy ground floor Classes. We hold exhibitions
space, close to bus routes and two in our workshop and in venues
railway stations. in Birmingham and around
We are open from 7am to 11pm, the country. We take part in
and have a part-time technician. Birmingham Artsfest (the biggest
The studio is well equipped for arts festival in the country) and
traditional and contemporary Birmingham Open Studios.
printmaking processes including 2 We are developing close links
intaglio presses, 2 screen printers, with Birmingham Universities,
a dark room and photographic Colleges, Museum and Art Gallery.
facilities. We have a strong We welcome UK graduates and
health and safety ethic, and offer them workspace for starting
have invested in environmentally their careers and have funding to
friendly processes. help overseas students. At present !

IMP RES S’0 9

 P h il W ilkin son
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

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

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

Sharon uses prints to create collages and as

elements in mixed media compositions. Her
work draws on imagery from graphic art and
popular culture: typefaces, adverts, posters,
photography and films. Visual gestures are
shifted from their original context to invite
new meanings. A signature device is the use
of tessellation: repeating images for increased
visual impact, as well as to create rhythm and
balance through the motifs selected and the
colours used. ‘Wedgwood V’ is part of a series
inspired by the colours of ‘Wedgwood’ Blue
Jasper Stoneware combined with an image
from a film.

t 0121 444 6372 m 07919 253 624

email: info @sharonbaker.co.uk
www.sharonbaker.co.uk

B irmi n gham P ri n tmak e rs 25

Victoria Linehan
‘On the Hill’, photoetching, edition: 10, unframed £195

‘Found in Woodstock....’, silk screen, ed 7, size 50.5 x 63cm, unframed £160.00

C a rol Ann a n d 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 have been 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.

email c.annand @ btinternet.com

IMP RES S’0 9

 S ole da d P into
The work of Chilean artist, Soledad Pinto, explores transience. “On the Edge” represents a building in process of demolition where the disintegration of its exterior walls presents us with the
ambiguous impression of being “inside” and “outside” at the same time. The scene is one that suggests 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

C e lia Na n ca rrow 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.

B irmi n gham P ri n tmak e rs 27

 produce editions of their own work, seeing the familiar processes.
Simon Burder with or without assistance. Artists The studio is one of a group of studios
set up his stone lithography studio have visited the studio to work with in converted stable buildings on the
at Oaks Park, in the London Borough Simon from many parts of the UK and former estate of the Earl of Derby, now
of Sutton, in the mid 1990’s. Several from France, India and Japan. Staff an attractive public park. It is equipped
times a year, he offers short courses of both the British Library and V & A with two direct presses for stone
for small groups of up to four people. Museum have attended their own lithography and stones of various sizes
These are suitable for artists with specially organised workshops. These up to approximately 56x76 cm. There 7 Hotham Road

or without previous experience of teaching and collaborative experiences are also a smaller tabletop intaglio London SW19 1BS
t 020 8542 4541
printmaking. He also welcomes provide a stimulating context for his press and a galley proof press, used for
email simonburder@oaksfineart.co.uk
enquiries from artists who wish to own work, offering ever new ways of lino printing. www.oaksfineart.co.uk

IMP RES S’0 9

C h ristop h e r C ockburn
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.

‘Red-Bellied Piranha’, linocut

t 020 8543 4623.

www.chriscockburnprints.co.uk

Oaks E d iti o n s 29
Kate Wilson
Kate Wilson makes her art out of excerpts from her own life, using distortions of drawing
or colour to tell her stories more vividly. Influenced by icon painting, she changes space
and reality to fit what she wants to say.

She studied painting at Winchester School of Art and the Royal Academy Schools and is
a winner of the Royal Academy Gold Medal. She exhibits regularly and her last solo show
was in Guildford Cathedral.

Kate likes the feel and simplicity of drawing on litho stone and the flexibility to scratch back
into the surface, making areas of light.

email katewilson@oaksfineart.co.uk
www.oaksfineart.co.uk

‘As Fast As We Can’, stone lithography

Nicole t t e C a rt e r
Nicolette Carter graduated from West Surrey College of Art and Design in the 1980’s.
During the course of her career she has worked in painting, sculpture, animation and
printmaking. Nicolette was introduced to the lithography process at Simon Burder’s studio.
The print “As Fast As We Can” was created by drawing directly on to the stone using
a pipette. This gave the line an animated, fluid quality. The touches of primary colour,
applied by hand, add a child like energy and enthusiasm to the image. Nicolette’s work is
shown at Skylark Gallery, South Bank, London.

email nicolettecarter@yahoo.co.uk
www.nicolettecarter.com

IMP RES S’0 9

 M a lcolm Fra n klin
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.

‘Embrace II’, stone lithography

email malcfranklin@hotmail.com

Oaks E d iti o n s 31
Simon Burder
Landscape is my preferred source of
imagery. Its wealth of motifs can become
visual metaphors for life’s experiences: the
path, the church, the rocky place. I hope my
images are as much about how I experience
the landscape, with its glimpses round
corners and choices of view, as they are
representations of actual places. Lithography
is my favourite means of expression, the
stone itself deriving from the landscape.

‘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

email simonburder@oaksfineart.co.uk
www.oaksfineart.co.uk

IMP RES S’0 9

 O liv e r B e va n
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

Hercules and Antaeus’, stone lithography

Sophie Dickens
Sophie Dickens’ printmaking has two major influences. Firstly she is a professional sculptor.
She constructs her sculptures using curved pieces of oak, making convex and concave forms
that emphasise the contrasts between light and dark. She likes to maintain the truth of the
materials that she uses - wood, glue and steel, and was drawn to stone lithography because
of its hands on directness. Secondly, she originally trained as an art historian, and is greatly
influenced by traditional themes of figurative and narrative art. Simon Burder at Oaks Editions
has been enormously supportive in assisting in the production of her lithographs.

www.sophiedickens.co,uk

Oaks E d iti o n s 33
We provide facilities for artists pastels, paints, stencils etc. Thanks to allow artists the freedom to be
from all backgrounds to create to the artistic desire to challenge & creative in print.
hand drawn original prints on a experiment, new ways of working The studio is based at Chilford Hall,
collaborative basis with our skilled are being discovered, making a Cambridgeshire country estate,
printmakers, using any form of lithography a truly innovative which includes their own vineyard The Curwen Studio
Chilford Hall
lithography - Stone, Zinc and process. producing award winning English
Linton
polymer coated plates. Having recently celebrated our wines. Cambridge

Lithography is an extremely flexible 50th anniversary we hope that the CB21 4LE
01223 893544
process and uses mark making that facilities that we have today will www.thecurwenstudio.co.uk
all will be familiar with - pencils, continue for many years to come info @thecurwenstudio.co.uk

IMP RES S’0 9

 C olin W ilkin
Colin lives and works on the Suffolk/Essex border and gains his inspiration from the surrounding
landscape and how it has been affected by man’s interventions past and present.

He studied at Brighton University for his BA and then his MA at the Royal College of Art.
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’

‘Repairing the Mara Cu’

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. Noel Miles
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 in the way 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.

T h e C ur w e n S tu d i o 35
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, over others, Picasso’s drawings

but feels 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 and to
represent the company from which we evolved -
the Curwen Press. He has also designed a pattern
paper for us.

‘Bramble & Apple Allotment’, top

‘Allotment - Goat Husbandry’, bottom

IMP RES S’0 9

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’

‘Santa Monica Beach’

Paul H oga rt h OBE RA RE 19 17- 2 0 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 in the different locations. Santa Monica
Beach portrays the fashionable resort once favoured by film stars in the 1920’s.

T h e C ur w e n S tu d i o 37
 waterside in Penryn, Cornwall, with aluminium plate, linocuts, woodcuts,
views to Falmouth, the studio is collographs and monoprints and can
John Howard Print Studios is a developing as a centre of printmaking take 10 printmakers with ease.
high-quality and vibrant facility excellence with a programme of The studio also provides
with opportunities for new and workshops, courses and open opportunities for display and sale of
t 07870 679061
experienced printmakers to develop sessions. fine art prints and for demonstrating
email: john@johnhowardprintstudios.com
their skills and expertise. Located The print studio offers facilties for the art of printmaking to the wider www.johnhowardprintstudios.com

in an iconic eco-building on the printing copper, zinc, steel and public. Unit 4, Jubilee Wharf,
Commercial Road, Penryn, TR10 8FG.

nb. the building is fully wheelchair-accessible.

IMP RES S’0 9

 Joh n H owa rd RE
John worked in industry in the Midlands for
ten years before graduating in 1989 from
the 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
email john@johnhowardprintstudios.com
www.johnhowardprintstudios.com

J o h n H o w ar d P ri n t S tu d i o s 39
 B e cky H augh ton
I make drawings in which I select and combine imagery from photographs; repeating
elements over a series of drawings whilst adjusting their scale or perspective; mixing up
visual languages and building a new version of the original image or images. I’m exploring
the possibility that drawing can allude to the constructed and restless way we encounter
the past. Etching is both an extension and companion to my drawing practice; making and
printing an intaglio surface results in a variety of marks that are achievable through no
other means. The indirect nature of etching also ensures that an element of speculation
always remains.

‘Fading light’, ed 50, size 14.8 x 21.9cm, sugar lift, aquatint etching, paper : Fabriano, unframed : £295 ‘Puptent’, etching with aquatint on paper, framed size: 46.5 x 49.5cm.

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

IMP RES S’0 9

 Sa lly Spe n s
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

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

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

J o h n H o w ar d P ri n t S tu d i o s 41
Established in 1976, Spike Print anyone with any level of experience learn new skills in a professional, Spike Print Studio is based at Spike
Studio in Bristol is the largest and provides 24 hour access to creative and supportive atmosphere. Island Artspace, an international
open-access print studio in the keyholder members. Our courses are very popular and arts centre, combining working
South West. Spike Print Studio  Spike Print Studio offers a variety known for their quality. The Studio and exhibition space for the
seeks to support, challenge and of courses, workshops and also offers an Editioning facility and contemporary visual arts.
inspire. Its mission is to provide masterclasses suitable for beginners has recently worked with a number
 
exceptional resources, inspiration and more experienced printmakers. of contemporary artists, such Spike Print Studio, Spike Island, 133

and training for artists, and by doing The large, well-equipped studios as Wood&Harrison, Ged Quinn, Cumberland Road, Bristol, BS1 6UX
0117 9290135                              
so, to advance printmaking. The and experienced tutors enable Mariele Neudecker and Sonia email: info @spikeprintstudio.org 
studio is accessible, being open to everyone to develop their work and Boyce. www.spikeprintstudio.org

IMP RES S’0 9

 Ro s F o r d
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 the University of the West
of England, where 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-passed 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

S pik e I s l a n d 43
Chitra Merchant
Growing up in India, drawing allowed me
an exuberant rebellion.
As a child drawing held my hand as I
learnt to place myself in my environment.
Today, drawing and printmaking form a
bridge between my own imagination and a
commonly perceived reality.
I use sketchbooks to experiment, play,
concoct and incubate ideas. Keeping a
sketchbook allows me to pay attention.
The process of screenprinting allows a
freedom in layering and using colour to add
emotional narrative and political and social
texture in my work.
As a practising printmaker, I feel deeply
involved in the perceptions of Indian
women, myth and folklore in modern
society.
The thread that stitches together all
my various bodies of work, is my desire
to share an experience of symbol and
metaphor, mythology and story which
waits within the “ordinary”.
I have been a printmaker at Spike Print
Studio since 2001 and have shown
work at various exhibitions, events and
venues, including the Spike Print Opens,
The Awning Project and Arnolfini Artists
Book Fair. Work has appeared in the
Guardian, Venue magazine, Times Literary
Supplement and ‘Bristle’ Magazine.

‘Wish Fullfilling Cow’, silk screen, ed 30

size 43 x 39cm, unframed £275

IMP RES S’0 9

 G a il M ason
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

S pik e I s l a n d 45
Angela Holland
From Fashion design in the 60’s, Angela
has moved in her Third Age to a delight in
lettering, completing a diploma in Calligraphy
at Roehampton University in 2003. One
module was devoted to drawn lettering and
typeface design, so discovering Spike Print
Studio on moving to Bristol that year opened
an exciting new creative dimension. She
admits: “To enliven and communicate words
that tease, challenge and uplift demands
the usual design elements of colour, texture
and form. First the creation of appropriate
lettering; next you cut them - backwards!
A magical transformation occurs then with
each print taken. Printmaking is always a
surprise. That’s why I love it”.

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

IMP RES S’0 9

 Fre a B uckle r
‘Butterfly Circle III’, creen print, ed 18, unframed £240 , left

‘Flying Lory’, screen print, ed 6, unframed £240

S pik e I s l a n d 47
The Leinster Printmaking Studio growing membership. The new ‘green’ printing studio in the both in terms of production and
was founded in 1998 at the facility includes a gallery space Republic. education.
Presentation Convent, Clane, Co. where member’s prints remain on The Leinster Printmaking Studio We are committed to the provision
Kildare with ten members and one display for sale to the public. represents a group of professional of facilities, which will enable
printing press. Since this time, the In response to environmental artists, from the wider Kildare members to produce work of the
studio membership has increased concerns, the Leinster Printmaking area, coming together to share highest standard.
fourfold, with five printing presses. Studio uses ‘green’ printmaking resources, knowledge and
In 2003, the Studio moved to larger techniques, limiting potential expertise and, aims to be a leading
t 086 3558 365
premises in Marron’s Court, Clane, damage to the environment and centre for the development of
email liensterprint@eircom.net
to accommodate the needs of the practitioners. and is the only printmaking and the arts in general, www.leinsterprint.com

IMP RES S’0 9

 K at h e rin e S m it s.
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’

’turning’, carborandum & drypoint, ed 20

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.

Li e n st e r P ri n t S tu d i o 49
Amelia Peart
The subject of my work is predominately the figure, dissected,stripped,reformed,decayed
and formed again. The figures in the work ,on one hand, deal with the rejection of reference
to objects, and on the other hand are very much about the object and the description of the
figure. They are put together like a mixture or a compond.
When this happens we are forced to look at the relationship between the conflict of the”
work,s imagery” in the sense of the “depiction” and the “gestural “ actions.
A new-comer to printmaking, i am using and experimenting in a combination of methods in
mark making.

’Kayak’

’Rock 1’

J e a n D illon
I have always been interested in shapes and combination of shapes,be they natural or man
- made. Colours conceern me less, though that is not to say i am not moved by them.
Having lived in california, for a number of years, i came to appreciate the starkness and
jaggedness of environments, such as the nevad sierra, or the death valley. I try to capture
essential elements in these, while trying to avoid replicating nature.

IMP RES S’0 9

 G ay O ’n e ill
My prints are mainly etching and aquatint. They are figurative and linear
with aquatint for tonal effect. I also work in pastel.

www.gayoneillart.com

‘Peace’

’Making Waves’

Rebecca Humfray

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.

Li e n st e r P ri n t S tu d i o 51
Leicester lithography, screen printing; children, young people and community We are dedicatedto breaking down
Print Workshop promote the monoprinting, gum arabic and transfer groups; an editioning service for barriers to participation and a
practise and enjoyment of fine art methods. Specialist knowledge and practising printmakers. commitment to artistic excellence.
printmaking to a wide and varied audience technical support in traditional and non We also organise a programme of We welcome both experienced
in the East Midlands and across the UK. traditional techniques in a well equipped, exhibitions including ‘Passion 2 Print’ printmakers and new-comers.
From our studio we deliver: well lit, ground floor studio; a varied in our annual members’ show and ‘Small
www.leicesterprintworkshop.com
affordable printmaking facilities for house and off-site course programme Print:Big Impression’ our biennial touring, lucy@ leicesterprintworkshop.com

intaglio – etching, mezzotint, drypoint, running throughout the year, ranging mini print exhibition, which is open t 0116 2553534
Leicester Print Workshop
collagraph, relief – wood cut, lino from introductions to master classes; an to printmakers from across the UK &
50 St Stephen’s Road
cut, wood engraving, letter press, education and outreach programme for beyond. Highfield, Leicester, LE2 1GG.

IMP RES S’0 9

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 my experiential, emotive responses to the city.

e gwright_etchings@hotmail.com t 07854 073597

‘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

H e n rie t ta C orbe t t
The landscapes of Leicestershire, West Cornwall and South West
Ireland are the inspiration for my recent imagery. The changing colours of the fields,
the man-made marks left after ploughing, the burnt remains of a stubble field, all lend
themselves to abstract interpretation of landscape shapes. Documenting these patterns on
the landscapes is something I work towards. The single tree amid the huge expanse of sown field,
the famous undulations of ‘ridge and furrow’ both inspire my circle shapes and linear marks.
Working with Carborundum allows me to achieve the painterly effect
and rawness of line that I feel relates so well to these crude landscape images.

e hc @henriettacorbett.com
www.henriettacorbett.com

L e ic e st e r P ri n t W o rksh o p 53
 Ji l ly Sh o r e
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 jillyshore@hotmail.co.uk

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

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

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.

e nicholakatie@hotmail.com
www.nicholahingely.co.uk

IMP RES S’0 9

Ochre Print Studio is a new contemporary print technology. and varied courses and workshops learning difficulties and is also
venture, open access print studio, Established in 2007, the spacious and excellent artists, talks with home to Lockwood Arts, an
welcoming and encouraging artists facilities include four large visiting artists and tutors. inclusive group of artists with
and printmakers of all abilities to vacuumed screen-printing beds, 2 Ochre is based at Lockwood further facilities for glass making,
engage in the creative process of large textile tables and 2 etching Day Centre in Guildford, Surrey. ceramics and a forthcoming digital
both traditional printmaking and presses. The studio offer frequent The centre cares for adults with editing suite.

www.ochreprintstudio.co.uk
t 07988229763

Ochr e P ri n t S tu d i o 55
 R ose S e be r
After retiring as a computer programmer I decided to devote more time to Art, and started
a part time BA in Fine Art, graduating in 2005. I concentrated mainly on Printmaking,
especially Etching. Since then I have taken various short courses in printmaking, currently
studying weekly with Jason Hicklin, at the City and Guilds of London Art School.
My other main interest is in rock and ice climbing and mountain landscape,
which is reflected in my work. When in the mountains I try to find time to
draw, later using this for my etchings

‘Wasdale 1’

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

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-collé, collagraph and solar etchings
to create bold abstract original prints.

IMP RES S’0 9

 G e rry B a p t ist
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 T V 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

Ochr e P ri n t S tu d i o 57
Susanna Harris Hughes
Susanna is fascinated by Cabinets of
Curiosities and ‘collections’. Her series of
‘Inheritance’ lithographs 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.
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

IMP RES S’0 9

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 a sense of belonging and
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’

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

J ulie H oyle
Julie Hoyle considers how transforming technologies create new traditions and wonders
if nature is slowly being reinvented. Working with print and using Perspex, MDF Halogen
Lighting and a large format ink-jet printer, Hoyle combines traditional printmaking with
today’s print room technology, searching for hybrids. Works to date include sculpture, light
and shadow installations, and interwoven, multi-layered digital and screen-prints on paper.

www.ochreprintstudio.co.uk

Ochr e P ri n t S tu d i o 59
Double Elephant Print Workshop * offer a range of courses in DEPW currently has over 50 artist courses each year. Most of our
is a not-for-profit open access printmaking including outreach members from Devon, Cornwall, work is based throughout Devon,
printmaking resource based in to schools and hard-to-reach Dorset and Somerset. We support but our outreach extends across
Exeter. community groups. professional and semi professional the South West.
The aims of DEPW are to: * provide high quality exhibitions, artists as well as those new to
* provide open access to fine print sales and an editioning service. printmaking. We work with an
Old Bakery Studios,
art printmaking resources and * be committed to maintaining average of 700 children and 500 Spicer Road, Exeter,

equipment an enjoyable, accessible, young people and adults through Devon, EX1 1TA.
t 07855 206 659
* to encourage and support people environmentally healthy and our outreach programme each year.
email info @doubleelephant.org.uk
to discover their creativity solvent-free working environment. Around 200 adults attend DEPW www.doubleelephant.org.uk

IMP RES S’0 9

 S im on R ip ley
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, size framed 77 x 60cm, framed £850

www.simonripley.co.uk

D o ub l e E l e pha n t 61
Sally Hebeler
Printmaking for me is a mixture of the
practical and ethereal, the process itself
allows me to ‘get into the creative flow’
when you can feel that you can achieve
anything. The obstacles in producing the
final print always increase the possibility of
discovery and inspiration.

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

IMP RES S’0 9

Multi Apple Blossom, R obin D ut t son
lino cut, size 66 x 91cm.
ed 30, www.robinduttson.com
unframed £795.00

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

D o ub l e E l e pha n t 63
Emma Molony

I’m interested in layering various printmaking screens to enable me to experiment with

processes together repeat patterns on fabric colours and overlapping designs.
and paper resulting often in wall coverings Most of my work at the moment is derived
with a visual narrative. from the Edwardian writer Saki’s sardonic
I begin with monotype drawings and combine short tales.
these with monoprints using found materials
and textures – lace, fur, plants, wallpapers.
These prints are then transferred onto 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

IMP RES S’0 9

 Lynn B a iley
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 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

D o ub l e E l e pha n t 65
Jeremy Speck
My interest in printmaking was initially fired
by a passion for 20th century British art and
design, especially the work of artists like
Paul Nash and Ben Nicholson, who were
attempting to give continental modernism a
British twist.

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

IMP RES S’0 9

As one of the few galleries to Abrahams, Ralph Brown, Jon Buck, later discovered that we were publications and collaborations with
specialise in sculpture and related Lynn Chadwick, Ann Christopher, coincidentally reviving the 19th galleries and museums. We also co-
drawings and prints, we have Terence Coventry, Peter Randall- century tradition of an association ordinate public commissions, curate
rapidly established a reputation for Page and William Tucker. between art foundry and gallery. exhibitions and act as artist’s agents.
works of quality and excellence by The initial inspiration for the gallery Over the past 17 years we have
both modern and contemporary was the need for a showcase expanded enormously and now t 01453 886 527
f 01453 731 499
artists. Sculptors regularly shown for the excellent sculpture embrace a whole range of activities email gallery@ pangolin-editions.com
at the gallery include Anthony cast at Pangolin Editions. We including major one-man shows, www.gallery-pangolin.com

G a l l e ry Pa n g o l i n 67
Abigail Fallis
Abigail Fallis was born in 1968 and studied
at Camberwell College of Arts. She first
came to public attention with her series
of sculptures focussing on underwear,
personalised with texts and images and
based on in-depth research into the heraldic
tradition.

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

IMP RES S’0 9

 T e re n ce C ov e nt ry
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

G a l l e ry Pa n g o l i n 69
Lynn Chadwick RA 1914 – 2003

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

IMP RES S’0 9

 W illia m T ucke r
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

G a l l e ry Pa n g o l i n 71
Peter Randall-Page
Born in 1954, Peter Randall-Page studied
at Bath Academy of Art. During the past
25 years he has gained an international
reputation for his sculpture, drawings and
prints. He has undertaken many large scale
commissions and has exhibited widely. His
work is held in numerous public and private
collections throughout the world including
Japan, South Korea, Australia, USA, Eire,
Germany and the Netherlands.
Randall-Page’s practice has always been
informed and inspired by the study of
organic form and its subjective impact on
our emotions. In recent years his work has
become increasingly concerned with the
underlying principles determining growth
and the forms it produces. In his words
“geometry is the theme on which nature
plays her infinite variations, fundamental
mathematical principle become a kind of
pattern book from which nature constructs
the most complex and sophisticated
structures.”
His series of linocuts, ‘Lolui’, was produced
as part of a body of work entitled ‘Rock
Music, Rock Art’. This resulted from a recent
field trip to Lolui Island in Uganda to study
ancient rock gongs. The series explores
the monumentality of the rocks through the
simplicity of a cut line.

‘Lolui’ series
linocut, ed.30, size 40 x 43cm

IMP RES S’0 9

 Ant h on y A bra h a m s
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

G a l l e ry Pa n g o l i n 73
GPC
GLOUCESTERSHIRE
P RI N TMAKI N G
COO P ERATI V E

In support of Impress ’09 many media and techniques being used

venues in and around Stroud have today by our local printmakers. The
provided exhibition space for members, following pages give a flavour of
associates and friends of the GPC. the artwork that will be exhibited
These exhibitions will showcase the throughout Stroud during the
rich diversity of printmaking and the Festival. Unit 16c, Griffin Mill
London Rd, Thrupp, Stroud,
Gloucestershire, Gl5 2AZ
t 01453 885100
email info @ gpchq.org
www.gpchq.org

IMP RES S’0 9

 Dav in a W ynn e - Jon e s
Davina studied Design in Oxford in the ‘70s
and later Fine Art in Swindon and Falmouth.
Her etching, ‘RevolvingTree’, was made
from a circular zinc plate used as a keel for
a floating, burning sculpture. Photographs
of the flames reflected in a lake became
interesting images in themselves. A tree
whose branches reflect the roots, and
vice versa, is an image that has been used
symbolically many times but it makes a
whole new image when spun.
Currently Davina is planting a circular
labyrinthine garden. The centrepiece will be a
reflecting bowl. She hopes it will photograph
well!

‘Revolving Tree Edition 1’, etching mounted on board.

t 01285 851457

GPC 75
 G ill Sa lway
Gill trained at Kensington and Chelsea College and at the North Oxfordshire School of Art.
Her favoured medium is collagraph, which allows her to combine her love of sculptural
form with an exciting textural range. She has exhibited in a number of group shows in
Oxfordshire, with a solo show in the summer of 2008. Her work is also sold through the
Hatherleigh Pottery Gallery in North Devon.

IMPRIMATUR
t 01865 881934
email salwaypg @ btinternet.com

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

Denise Mason
Denise was inspired to begin printmaking whilst studying an art foundation course at North
Oxfordshire College of Art and Design; she went on to achieve a BA (hons) degree in fine
art. Denise specialises in screen-printing and more recently non-toxic Intaglio type etching,
which 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 surroundings and places she has
visited. Denise exhibits regionally and nationally, her work can be found in collections in
UK, Cyprus, Germany and USA.

t 01327 261972
email denisepmason@ aol.com
www.denisemason.co.uk

IMP RES S’0 9

 M a rta Lo m b a r d
I trained at St Martins Central School London where I first did stone lithography, then
at York College of Arts and Technology 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 Rutgers 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.

‘Girl’

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

George Richards
Areas of Work: Film & video, digital printmaking, sound, photography.
George Richards is an experimental film and video maker who uses similar techniques to
produce digital prints. Not having the element of time (not to mention sound) he creates
images of impossible, unreal spaces, taking the viewer into dimensions that exist only in
the world of numbers.
Using photographs of buildings or natural textures, scans of tangled wool, screwed-up
cellophane or old family photographs, he creates structure out of chaos and vise versa, reality out
of nothingness (and vise versa), patterns out of ‘noise’, often with an element of surreal humour.

t 01453 884775
www.xology.co.uk
Chalford, Glos.

GPC 77
Rosanna Mahony
This artist is well known for her vibrant,
textured, colourful prints.
She has developed from fine multi- coloured
etchings to Collographs and Monoprints,
sometimes using collage, 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.

t 01453 762231

IMP RES S’0 9

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 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
email janehenriques2004@yahoo.co.uk

GPC 79
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 has been responsible
for forging links with a workshop in Havana
that has resulted in the Cubans’ participation
in the Festival.

‘Spanish Torso II’

t 01453 824212
m 07970 258151
ordonezc @ btinternet.com

IMP RES S’0 9

 Fra n C h rist e n
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
email fchristen@ btinternet.com

GPC 81
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
email maxine.relton@tiscali.co.uk

IMP RES S’0 9

 T uula Jout se n
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.

GPC 83
IMP RES S’0 9
a d v e rtisi n g 85
LB Card.qxp:LB Card.qxp 5/1/09 15:48 Page 1

Perfect Reproduction
YOUR WORK IN PRINT

chrisyd@btinternet.com 01622 750884

Sue Crossley
hand made journals
and artists’ books

m: 07790 697265
e: suecrossley@thegreenwoodgallery.co.uk

IMP RES S’0 9

a d v e rtisi n g 87
ACKNOWL E DG E M E N T S

“To all those who have supported this festival with funds, sponsorship, help in kind and practical assistance
and to all those who have helped in the production of this catalogue we are more than grateful and would
like to acknowledge your generosity and skills.
You have made this ambitious and exciting venture possible. Thank you!” SUE DRENNEN founder GPC

Thank you to the following for providing festival funding:

STROUD DISTRICT COUNCIL

STROUD TOWN COUNCIL
STROUD FESTIVAL
ALIAS

And to those who have provided support in kind:

Andrew Lovell for catalogue, publicity materials and website design

Carlos Ordonez for publicity including Pre-Impress ’09 exhibition
Chris Smith for framing prints from the Curwen and Cuba
Chris Oldroyd for printing of posters and invites
Waitrose Stroud for sponsoring the Festival launch
Stroud District Council for support at The Museum in the Park
Stroud 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

IMP RES S’0 9

a d v e rtisi n g 89
 9 781565 924796
20 09
©
GPc

w w w. l o v e l l y. c o m . m . 0 7 9 7 6 2 7 9 0 4 8

£5
ISBN 978-1-56592-479-6