Print Cromer 2024 – entries

Print Cromer 2024
Entries
62
# IdMessage/comments
You to add up to 100 words to summarise your work or practice if you would like to.
first work titlefirst work descriptionUpload an imagesecond work title (optionl)second work descriptionUpload an image of second workthird work title (optional)third work descriptionUpload an image of third work
1 1142
Paul Wolterink is a printmaker, graphic designer and Dutchman who, since 2016, lives and works in rural west Norfolk. Here he set up his print studio and multidisciplinary practice in a former primitive Methodist chapel.For a more close up view please visit www.paulwolterink.com at the sections 'screen prints', 'about' and 'bio'.
LET GO
Maybe not to cling to everything indefinitely. Throw off weight, move with the now. Limited edition prints of 50 in A2 size (420mm x 594mm) black and fluorescent orange typo series. Also there will be postcards in A6 size (105mm x 148mm) with a perforated dotted line, emphasizing LET GO.
pJoGbRgJOq.jpg
IT WILL PASS
IT WILL PASS is soothing knowledge during chaos and complicated situations. Its typography is derived from the signage found at British level crossings. It also homages the British font ‘Transport,’ designed by Jock Kinneir and Margaret Calvert, responsible for all UK road and rail signage.Alongside this screenprint, square sized (500 x 500mm), printed in black ink and edition of 50 limited prints, comes an A5 size postcard with rounded corners, to put in a shop section.
SoNIodEmvq.jpg
RUNNING SHEET 01
Running sheets are paper sheets that are printed until a stable print run is guaranteed. I often reuse running sheets by taking them to test runs for new works. Re-printing onto running sheets over and over again, I found, produces unique new, uncontrolled, compositions. ‘Running sheet 01’ is a unique print, size 230mm x 450mm. I have a bigger selection of running sheets (see also picture) and each one is unique and a one-off, which could also be selected for a browser, if desired.
wzkjOUTfHH.jpg
2 1141
Prints inspired by fieldwalking - flints, boundaries and hedges telling stories of past human activity.
Fieldwalking Flints 2024.
Monoprint and drypoint. (A2 frame 42cm x 60cm)
TPFolJabbE.jpeg
Fieldwalking Hedges 2024
Monoprint and drypoint. (A2 frame 42cm x 60cm)
mhyDQboDun.jpeg
3 1140
Printmaking has become the vessel for my creative voice. I love designing prints with a storytelling and illustrative quality, picking up elements of coastal living and themes close to my heart. My practice interchanges intaglio, relief and screen processes but is always made by hand. I enjoy the carving or etching stage of the process, which is therapeutic for my mind, requiring patience and intricacy. The delayed gratification then comes when I finally pull my first print, getting a great dopamine hit. It is then hard to put down my brayer, squeegee or scrim when I enter my creative flow state.
Seaweed quintet
Seaweed quintet blurbThis seaweed study captures the form, diversity and playfulness of seaweed. It is so abundant and local to those that live coastal lives here on the north Norfolk coast. Yet seaweed remains unfamiliar and otherworldly. It is often overlooked and somewhat trivial in our current society. I endeavor to celebrate the importance of seaweed as a resource for the future. Not only supporting ocean life and carbon capture but also for use in diets and health.ScreenprintUnframed size A4, to be framed to size A3 for exhibition
BGgnPVVjQV.jpg
Hope
Hope is often difficult to locate and hard to grasp, but it is what we need to cling to at the raw difficulties of life. The fragility and size of this dry point etching, and the quality of line, captures the tenderness and sensitivity of hopefulness. The work is printed on 2 plates with a clear divide, highlighting the void in our consciousness when we try to locate hope within. Dry point etchingA5 in size, unframed. A4 when framed for exhibition.
rlAgufqWFB.jpg
4 1139
I’m an artist based in King’s Lynn, making prints using linocut and woodcut. I’m fascinated by the landscapes of Norfolk, brief passing moments and narratives and prefer working in monochrome and using lines to describe forms and light and shade.
Remnant
This is of the remains of a pier on Snettisham Beach that is constantly being eroded by the elements. Over the course of time pieces of it fall away and are washed away by the sea, so it’s in a constant state of change. This print represents it as it was in just one moment and the structure will continue to be altered by the sea till nothing of it remains.
pXhwMYLqWQ.jpeg
5 1138
I make mostly collagraph prints in my studio which is hidden down the unruly garden - mostly roses and wild things. There’s no landline or mobile signal which is just how I like it! My inspiration comes from romance, myth, nature and dreams. A line of poetry, a story or a memory is enough to fuel my imagination , also leaves , seeds and other bits and pieces gathered when walking with my dog often form the beginning of an idea. I love how the texture of things from the natural world are so unexpected and uncontrollable.
Hope is a Perennial Plant
This is a cardboard cut print- like a lino cut but with cardboard. It only takes a moment to plant a seed But in that moment is all the potential, all the possibility of a perennial plant,Hope is like that. Hope is in the moment. Hope is a perennial plant.
rgIWolBrJa.jpeg
6 1137
These two woodcuts of trees are taken from ink drawings made directly in front of the subject. The aim is to convey the immediate sense of energy and life in the tree, almost as if it is dancing.
Dancing Oak
Woodcut , 35x35 cms
TbmYUnpQed.jpeg
Oak Trunk
Woodcut 35x 27cms
sONXgPAdfb.jpeg
7 1136
Puffins are going but not yet gone from the Channel Islands archipelago where I grew up. As recently as the 1950s, 50,000 breeding pairs nested on the rocky islet of Burhou. Today, only 180 pairs still breed here. Warming seas, over-fishing and human disturbance mean that this too is just a fleeting moment in time. I associate the ‘sea parrots’ with nostalgia for my childhood and soon they may be gone altogether.
Red List: Burhou Puffin 1
This print is a two-plate collagraph on Fabriano paper using Akua Intaglio inks. The image is A4 and framed it is A3.
PiXuAYdBJh.jpeg
Red List: Burhou Puffin 2
This print is a two-plate collagraph on Fabriano paper using Akua Intaglio inks. The image size is A5 and the framed it is A4.
LouhkKPlod.jpeg
8 1135
My current and ongoing work explores fluidity and transience. I start with photographs of light projections interacting with transparencies, then render these through print processes that echo their fleeting nature. The process is marked by change, movement, and the interplay of materials. I aim to capture the sadness and joy found in surrendering to the ephemerality of human experiences.
Sculpture 1
Duotone screen print on plike, in silver and gold pigment. Artwork size: 18cm x 25cm. Framed without glass. Total size including frame: 34cm x 41cm.
miZejRUImN.jpg
Sculpture 2
Photopolymer on plike. Artwork size: 13cm x 9cm. Framed without glass. Total size including frame: 25cm x 21cm.
cPuLIaueFE.jpg
Sculpture 3
Photopolymer on somerset satin. Artwork size: 14cm x 19.5cm. Framed. Total size including frame: 18cm x 25cm.
hoJXAymmaI.jpg
9 1134
Mig Gilbert is an artist printmaker, originally from Norfolk but now living and working in Brighton. Fascinated by cities and neighbourhoods Mig's art considers the subtle, and sometimes the not so subtle differences that give a place its identity. She reimagines these cityscapes using photographic, collected and hand drawn imagery amassed on her own journeys, constructing densely layered screen prints to visually recreate the experience of travelling through new, unknown metropolitan environments. @miggilbertprintsNote. Legal name, Michelle Gilbert, used only where needed (ie banking).
Siamese Sensation
Screen print on paper. Dimensions 36.5cm (w) x 50.5cm (H) unframed. Estimated 40cm (w) x 55cm (h) framed (print is currently with the framers). Siamese Sensation reimagines the excitement of visiting somewhere new. A multitude of images have been layered to capture the cascade of sights, sounds and smells during a recent journey to SE Asia. This small, variable edition of prints are all slightly different, each representing a brief moment as your surrounding change as you pass though a place.
ZWtOGbhTDA.jpg
10 1133
Title TBC
Framed linoprintSize 43 x 33cm, including frame
wEwAIevehx.jpg
11 1132
My current practice involves reusing collagraph plates that I have created over many decades of printmaking. The process of cutting them up, inking and placing allows for the interplay of both formal and contingent elements. I create a tension in the work, between intention and chance, control and accident, past and present, concealing and revealing.By placing new against old I am revisiting my history, and when I stand back I feel I am not looking at a piece I have made this month, this year or even this decade. At this point in my life that is where the meaning lies.
Palimpsest Composition #1
Print area: 21 x 30cm Intaglio Monoprint with Chine Colle
zUqjljPdcl.jpg
Palimpsest Composition #2
Print area: 21 x 30cm Intaglio Monoprint with Chine Colle.
tUIamoQVDM.jpg
Palimpsest Square #1
Print area: 15 x 15 cm Intaglio Monoprint with Chine Colle.
pGkaEnlCmR.JPG
12 1131
Studio interior
Stone Lithograph 42 x 54 cm.
gGRDewhbMi.jpg
13 1130
Philomine Wales’s work explores the textures and surfaces of embedded memory - worn, discarded, patched. The work moves between apparent abstraction and more representational imagery, inspired by landscape elements and the impact of use, erosion, and time. Process driven, the work uses found materials as a starting point, or as the print surface itself, with a focus on reimagining, reuse and repair.
Last Summer
Stitched collage using relief prints from collagraph and wood cut. Unique work as part of a limited series 30 x 30cm (36.5 x 36.5cm framed) Price £250 framed
TRaAwacdeL.jpg
North Sea
Stitched collage using relief prints from collagraph and wood cut. Unique work as part of a limited series 30 x 30cm (36.5 x 36.5cm framed) Price £250 framed
BYOBkfPNil.jpg
14 1129
I gained my fine art degree in 2002, but only really picked up printmaking when I moved to Norwich in 2008.I make bright, bold prints, usually inspired by the natural world. I have a garden studio and love the calming effects of printmaking, especially when the world feels a bit 'noisy'. Historically I have mostly printed linocuts, however I have recently been experimenting with gelli-printing and am enjoying my exploration into colour and texture.
Fragile
Mono print, size framed approx. 10x10 inchesFeathers seem so fragile - soft and delicate - but they also have strength, power, with the ability to make you fly. The bubble wrap symbolises pockets of moments, snapshots, bubbles in time. Times when you thought you were fragile, but actually you had hidden strength.
gRBgfnAXOz.jpg
Growth
Mono print, size framed approx. 10x10 inchesThe rings are like a map of growth in a tree's life, with each ring marking one year. They symbolise the passing seasons, climate conditions and external influences - all moments trapped in time inside the wood. If humans grew this way, I wonder what my tree rings would look like?
YezKVEJULK.jpg
Prominence
Mono print, size framed approx. 10x10 inchesCromer pier is steadfast, surviving storms and the passing of time. My husband's family have strong links to Cromer, having always lived and works in the town or nearby area. The prominent pier front reminds me of all our times together - the hundreds of moments that make up my memories of family.
TllQCsUigy.jpg
15 1128
I work across media, nurturing an open-ended approach to the paintings, drawings and prints I make. Experimentation across works often occurs. Also connecting these elements of my practice is the broad rooting in nature and natural form, and the significance of place. Making natural inks to draw and paint with, including elderberry ink, deepens my awareness of the seasonal rhythms and what's growing when. I observe the flowers and fruits and their moments in time. In 2023, the elderberry stalks lent themselves to both a small series of monotypes, and 3D work, after I had created some ink with them.
Elder 1
Monotype on paper, framed size 50 x 42 cm
JUKIHvLyqC.jpg
Elder 3
Monotype on paper, framed size 50 x 42 cm
xcyJzFEJEQ.jpg
16 1127
As an artist, I feel the need to bring my work into a state of crisis and discover new methods. This transformative process aligns with the art of noticing, where the subtleties of everyday life become meaningful. In this space of innovation, I strive to create work that engages and builds a sense of community. Celebrating my creative recovery, I recognize the milestones of resilience and ingenuity. Despite the challenges, the pursuit of a twisted path reveals the richness of experience, while embracing both defeat and my talents fuels my artistic journey.
Distorted Landscape_01
Title: distorted landscape2024, ink on acid-free paper, 26 x 30 cm / 10,2 x 11,8 inchDripping the paint like Jackson Pollock resulted in abstract forms that show a remarkable resemblance to Japanese calligraphy art. The beauty is in the details. The longer one gazes at an individual piece, the more intricacies reveal themselves, and the more mesmerizing the work becomes. This technique, characterized by spontaneous splashes and strokes, captivates the viewer, drawing parallels between Pollock's dynamic energy and the delicate precision of Japanese calligraphy. Each viewing experience unveils new layers, transforming a seemingly chaotic composition into a profound exploration of form and movement, ultimately highlighting the nuanced interplay between control and chaos in art.These two specific pieces are part of a larger series of silkscreen monoprints. The starting point evolved from the desire to combine Japanese calligraphy with monoprinting. The aim was to achieve maximum effect with minimal effort, and to infuse emotion into the work. The objective was to use the screen printing process to express complex emotions. The preparations for this 'act' and the subsequent cleanup take a relatively long time. This is all embedded within the work itself. By integrating traditional techniques with modern processes, the artwork embodies a synthesis of careful planning and spontaneous expression, highlighting the intricate balance between methodical precision and emotional depth.The smudges create the emotional landscape and raises questions like: What outcomes arise? When is a print considered proper? What are the conventions? By deviating from these norms and reconsidering failure as beautiful error,, new advancements in silkscreen monotype art can emerge.
UTuEsoLNDZ.jpg
Distorted Landscape_02
Title: distorted landscape2024, ink on acid-free paper, 26 x 30 cm / 10,2 x 11,8 inchDripping the paint like Jackson Pollock resulted in abstract forms that show a remarkable resemblance to Japanese calligraphy art. The beauty is in the details. The longer one gazes at an individual piece, the more intricacies reveal themselves, and the more mesmerizing the work becomes. This technique, characterized by spontaneous splashes and strokes, captivates the viewer, drawing parallels between Pollock's dynamic energy and the delicate precision of Japanese calligraphy. Each viewing experience unveils new layers, transforming a seemingly chaotic composition into a profound exploration of form and movement, ultimately highlighting the nuanced interplay between control and chaos in art.These two specific pieces are part of a larger series of silkscreen monoprints. The starting point evolved from the desire to combine Japanese calligraphy with monoprinting. The aim was to achieve maximum effect with minimal effort, and to infuse emotion into the work. The objective was to use the screen printing process to express complex emotions. The preparations for this 'act' and the subsequent cleanup take a relatively long time. This is all embedded within the work itself. By integrating traditional techniques with modern processes, the artwork embodies a synthesis of careful planning and spontaneous expression, highlighting the intricate balance between methodical precision and emotional depth.The smudges create the emotional landscape and raises questions like: What outcomes arise? When is a print considered proper? What are the conventions? By deviating from these norms and reconsidering failure as beautiful error,, new advancements in silkscreen monotype art can emerge.
wpXJlaranD.jpg
Hello, Craig, Neil, Leanda and Niki, Thank you for viewing my printmaking art. I am eager to participate in your esteemed exhibition, as it aligns with my artistic practice, which emphasizes innovative methods in monoprinting. My work is autonomous and abstract, situated within the sphere of multidisciplinary printmaking. I employ sustainable practices and thrive on improvisation with the press, pushing the boundaries of traditional techniques. By integrating these elements, I create unique pieces that reflect a commitment to both artistic innovation and ecological responsibility. This opportunity would allow me to showcase my dedication to advancing contemporary printmaking and contribute meaningfully to the dialogue within the art community.I have used this part of the form to upload my cv.
HWnztoHNeF.pdf
17 1126
Molly's works are primarily concerned with nature, landscape and memories. Mostly working in mezzotint she seeks to create atmospheric and detailed work, whilst raising awareness of the growing climate emergency and its effects on habitat and biodiversity.
The red list seried- hen harrier
A mezzotint print, somerset paper, akua inks. 40 x 30 cmsPart of a long term project to document and archive the growing UK red list of birds in severe decline.The majestic bird of prey is caught in a moment, gliding above the moor, perhaps about to be successful in its hunt. One of our most persecuted birds and one of our most precious. I hope I have captured that uneasy balance.
KYCGosAYuJ.jpg
River Orwell
Mezzotint, somerset paper, akua inks.18X 20cmsA serendipitous stay at Freston Tower resulted in some memorable family walks along this beautiful estuary, imagining Queen Elizabeth I sailing up to Ipswich in 1634. Once we returned home, I immediately set to work to seal that moment in time with this mezzotint print. The lack of colour makes it unclear whether it is by moonlight or sunset which allows the viewers to make their own interpretation, rather like the memories themselves.
EVyMjKUtZG.jpg
Orford Ness
Mezzotint, somerset paper, akua inks.15x12 cmsThe military buildings remain aloof and distant from the other side of the spit, full of the secrets of a cold war. A place which is unique and otherworldly, without doubt stuck in a moment in time.
DixVhXXfUg.jpg
18 1125
I like to use a variety of printmaking methods, and I break a few boundaries by mixing methods such as lino, monoprint and drypoint, and by defying the traditional printmaking "white border" conventions. I aim to express feelings through my work, and the prints I am submitting come from situations where I am in the moment, experiencing peace from nature, and joy from physical activity.
The Joy of Motion
Monoprint and lino combination. limited edition 1 of 3.Cranfield safewash inks.23.5 cms by 35 cms unframed. 50x40 framed.
RVzDXVHsAG.jpg
Immersed in Nature.
Linoprint with Chine Colle. (Reduction method). 2/6Cranfield safewash inks.29x20 cms unframed.
VukyAkmgRX.jpg
19 1123
I am a Lino cut artist who likes to explore narratives in my prints. I like to encourage people to tell themselves a story while looking at my work as I believe it helps them absorb and remember my prints.
Light House
Hand printed lino print on Mitsumata paper (30cm x 50cm)This is a follow on print from my previous Print Cromer submission for "On The Edge" in which the story moves on, or even goes back! I was considering how time can stand still at the strangest moments, how it can look like someone is frozen in the air when jumping or the long pause of a second hand on a clock. In this print I wanted to capture a bit of that feeling with the boat resting on the top on a wave and instead of crashing down everything has paused as the figure turns on the light.
UoYqZIuzBV.jpg
20 1122
‘There is nothing permanent except change’ and I think that applies, both to my ways of working, which include elements of print in landscape-based subjects, and the constant movement of light particularly in this location
flashlight
20cmsx20cmsMonoprint collage
dwrVsBXHVy.jpeg
breeze
20cmsx20cmsMonoprint collage
RRIHjjnWwj.jpeg
21 1121
You are never so much in the moment as when you are a child (though not always, there are anxieties and hopes then too). But at the seaside you are on holiday, and it is a very in-the-moment experience as you see the repetitive rolling of the waves, and feel the cold water rising up your warm body as you wade deeper and deeper. I have made a number of prints about the seaside recently - my work is mainly concerned with people, their humanity and individuality, and the dynamic visual relationships made by unconsidered movements and interactions.
Postcard from the Seaside
Etching 10 x 15 cm (4 x 6 in) Postcard size image of 2 girls and a boy in the sea.
jtBCWkVcHu.JPG
22 1120
Found beach metal fascinates me. Much of it has its origins in vessels and aircraft lost to the sea decades ago. Their structures are dissected into fragments by storms and tides, emerging years later from storm-tossed shingle. By printing these fragments as intaglio prints I am capturing the moment when I plucked them from the erosive beach environment, scarred and broken but not yet destroyed.
Perforation I
Intaglio print of found beach metal on 250 gm multimedia paper with mono-printed collage. 52cm x 42 cm (framed). Variable edition.See text above for interpretation of the brief.
EaUMMjrrJC.jpeg
Perforation II
Intaglio print of found beach metal on 250 gm multimedia paper with mono-printed collage. 52cm x 42 cm (framed). Variable edition.See text above for interpretation of the brief.
kbmRwCkPLA.jpeg
23 1119
I first exhibited etchings when I lived and worked in Cromer. My first painting sale was of a Mermaid drawn to the moon. I had found a medeival mermaid on a misericord, designed to mercifully support a cathedral chorister. I return to mermaids as other-worldly playful creatures, that link me to timeless and infinite seas.They seem to woo and connect features of the natural world.
Mermaid Print Cromer 1
Solar plate etching hand touched.A supine mermaid playing ball with the golden sun.A5 floated in A4 frame
RknvPYRbIV.jpg
Mermaid Print Cromer 2
Solar plate etching with yellow chine collee.A mermaid plays ball with an owl faced moon. A5 floated in A4 frame
XGyBzUMMPI.jpg
My Sister and I, the Moon and Me
Copperplate etching and acquatint.Two girls hold hands and wave to the moon.
GBxzJBfeZb.jpg
24 1118
Art is akin to Magic. Through the act of drawing I invent and explore new worlds that I conjure up out of the blank page. A narrative tension comes into play as I place the figure in a natural environment that can be seen in turn protective or threatening. Although I take inspiration from diverse sources, my main muse is to be found in the contemplation of nature. My work is also greatly indebted to the rich and enigmatic stories that we qualify as fairy tales, folklore or legends; whereas childhood, that ambiguous age of possibilities where mundane and magical coexist, imbues my work with its particular mood, merging the weird with the wonderful.
When Plants Dream
Woodblock print, artist proofapproximately A2 size (printed area)Through this print, I attempted to explore the delicate balance of nature through a surreal and intricate composition. The organic drawing invites the viewer into a fantastical world where plants, animals and human-like beings coexist in a dreamlike state, emphasizing the fragility and interconnectedness of our natural environment.
vXTIeSnSmC.jpg
The Sentinels
Woodcut print, artist proofapproximately A3 size (printed area)Based on the same initial idea as the previous work, this woodcut shows an emerging blossoming branch that is being guarded by a few frogs. The pervasive idea is for me that the survival of animal and human forms are intermingled.
vKogUytlal.jpg
25 1117
My work explores the sensory and emotional interconnections and interdependence between animals, humans, and nature, drawing on magical and folk practices. I combine a mixture of printmaking processes with the use of vegetable and plant dyes, and ‘fumage’ or smoke drawing. The development of stains, burns, spills and holes as important parts of the images enabled me to play with the tightrope of creativity and destruction which runs through my practise of making. Please note these are works in progress. (nearly complete )
Field Study 1 ( Trowse )
Please note this work is still in progress, using steam printing with flowers and plants combined with etching plates/drypoint plates and burning of the paper. It is intended to capture an experience of the plant and insect life observed early morning in the Norfolk countryside using the plants themselves through steam printing. Size is 58 x 40 cm and is a single print although variations of the print may be available
mWoxbiFWaf.jpg
Brahmin Moth
This is created using solar plate printed onto very light paper and then chine colle'd onto a steam print . Size is 28 x 19 cm. Variable edition of 20
ZpYrvYkUVK.jpg
26 1116
Printmaker, painter, sculptor working across a wide range of media. Archive of printed journey cards spanning over thirty years. Friend and collaborator of the late Scottish artist and poet Ian Hamilton Finlay.
Conflict
Monoprint in oil and acrylic 48cms x 32 cmsContemporary take on the Latin phrase ‘veni vidi vidi’. Dynamic lines and arrows imply moment and conflict. Words in translation suggest diaspora and the universal desire to return home. War, alienation, migration; all major concerns not alleviated by the passing of time.
yNpmFiZwaA.jpeg
27 1115
Artist, illustrator, designer. Earth Science specialist for The Natural History Museum, BBC Books, National Geographic. Long time collaborator of Ian Hamilton Finlay with works in the collections of The Tate Gallery and MOMA. Ongoing installation and sculpture collaborator with Jo HincksJo Hincks.
Paperboat at Anchor
Linocut.A simple image accentuating the fragility of sea going vessels and the precarious state of the east coast fishing industry - particularly for small boats.
fQuegJXvxx.jpeg
Sebastian
A linocut of the renowned Saint shot with arrows. This execution failed to kill him but persistence by Diocletian brought about his death. To this day people continue to die for their beliefs.
mibnUOsSpH.jpeg
28 1114
These prints stem from visits to caves in France and my experience of being in water in areas with an ancient link to human activity. They could be understood in terms of the rock and crystal structures I have explored, and water that flows from underground worlds into the rivers that carry that past with them, holding both physical and ethereal structures; in-between, hidden spaces. The prints illustrate how the sensation of being in and under the water affects the brain and body, connecting intricate neural pathways to a profound history of ourselves found in these dark and mysterious places.
Céou I
Cyanotype on A3 cartridge paper
TYXUoEnbIG.jpg
Céou II
Screenprint on A3 cartridge paper
RPVlTumeQA.jpg
Céou III
Etching on A3 cartridge paper
ltCrbfKlgh.jpg
29 1113
Printmaker, painter, sculptor working across a wide range of media.Archive of printed journey cards spanning over thirty years.Friend and collaborator of the late Scottish artist and poet Ian Hamilton Finlay.
Veni vidi volo in domum redire : I came I saw I want to go home
Monoprint in oil and acrylic 48cms x 26cmsA contemporary take on the Latin phrase ‘veni vidi vidi’. Directional arrows imply movement and force. Words in translation suggest diaspora and the desire to return to a homeland. War, migration, alienation; universal concerns not alleviated by the passing of time.
YrEajcvDpJ.jpeg
30 1112
Fleeting Moments
We are ever fading, living moment to moment.The intention of the work is to show the contrast between our limited time on this plane against the familiar constant of the landscape.I chose a place that would have been recognizable going back over 100 years, a landscape that will have witnessed countless moments now long gone. The black ink, solid, versus the fading fleeting characters.
jlqyDzJXsV.jpg
Rock On
The incomparable feeling of being in the moment - when everything aligns, when all the notes are right, when the separate parts create a whole.
QTCSXVyXrW.jpg
31 1110
By being outside Ros records what is seen on the North Norfolk Coast and uses structured compositions to create energy, and limited brush marks on the lino to only include necessary remembered parts of the story.Her narrative style turns everyday scenes into colourful and memorable moments. Every month she creates a lino print from the landscape in and around Sheringham to reflect weather, season, and the feel of North Norfolk. These lead to paintings suggesting energy and expressing remembered fragments in time.
Too cold to sit on the beach May Sheringham
A simple black and white print of a family throwing stones into the sea on water colour paper hand printed using oil based printers ink.
SFxojAjrhY.JPEG
Turnstones on stones by a spitting waves
Expressive 4 colour lino print on water colour paper using oil based ink by hand and trying to capture the energy on the shore time.
MzsZuNLWRJ.JPEG
The start of spring
3 Small lino stamps using oil based in on watercolour paper and suggesting the hard work of building a nest
pghBxYKSfb.JPEG
32 1109
This ghost appeared mysteriously when l was making some monoprints. He seems to be an ancient personage.
Ghost with feathers in his hat
Monoprint oil and water
ywshHYFjay.jpg
33 1108
There are so many aspects to printmaking and I find that there is much to learn about processes/paper and patience. It's a delight to create spontaneous mono print, using bright colours and gestural marks. As a contrast, a linocut requires more design and technical skills to create a more orderly, storytelling print.
That Moment of Creation
In the moment of creation the world was formed - make your own world - cut out the six shell-like shapes, glue the edges and you have your own globe - treat it well.38cm h x 28 Linocut edition 1/4 dark green
jawhtgZmPz.jpg
Slip on a Wet Leaf Moment
Gestural marks for that argh moment when balance starts to slip30cm h x 20cmDrypoint monoprintUnique
WydIZGhAfa.jpg
Which Way Moment
Conflicting colours for conflicting actions30cm h x 20cmDrypoint monoprintUnique
qraibFEmHX.jpg
34 1107
This series, ‘Analogue preservation: family album’ is an ongoing deconstruction of my family’s digital photo collection that has built up over many years. I am interested in my relationship with digital images: particularly the oversaturation; quantity over quality; visual clutter; the disconnect of capturing a moment rather than truly experiencing it by being in the moment. My process aims to counteract that visual overload by sorting through digital images and creating an alternative version of them. This series adopts an unapologetically personal and intentionally nostalgic stance, aiming to reclaim slowness through monotype, text and minimised colour, to connect in more meaningful ways with those fleeting digitised moments.
Analogue preservation #7
Image size 22x18cm (excluding frame). Monotype with text on paper.
KpmioxGCJt.JPG
Analogue preservation #15
Image size 18x19cm (excluding frame). Monotype with text on paper.
PGXCpfYdVT.JPG
Analogue preservation #9
Image size 23x16cm (excluding frame). Monotype with text on paper.
uDCoBEsSYF.JPG
35 1106
Rachel Collier-Wilson has been a practising artist since gaining a Bachelor of Fine Arts, Printmaking in 1990 from Central Saint Martins School of Art in London. Currently studying part time for an MA in Fine Art at The Norwich University of the Arts .Their practice includes figurative portraiture, drawing and printmaking. They are interested in exploring memory and emotion and considering the relationship between the narrative of portraits, the memories they represent and how they evoke a sense of identity.
Check Myself
Check Myself 2023MonoprintFramed - A2 (42 x 59.4cm) This image explores the challenge of lesbian identity erasure throughout history, emphasising the importance of embracing one's identity and living in the present moment.
utTGCEzSCZ.jpg
Invisible Lesbian
Invisible Lesbian 2023MonoprintFramed - A2 (42 x 59.4cm)Dissecting the layers of identity reveals fragmented elements that can be ignored or erased due to societal pressures. The red and black colours symbolise protest around my identity, to retain a place in history, to reclaim historical roots.
LDXmhuHeKQ.jpg
Sheela Na Gig
Sheela Na Gig 2024LinocutFrames A5Thought to be a representation of the crone power of post-menopausal women.
IgjxFFZPPq.JPG
36 1105
I have been working in several media for nearly 40 years; more recently enjoying printmaking. I have been inspired by Nature and by old arts and cultures - medieval, folk, ancient, so called primitive; that I still study, having obtained a BA Honours in Art History. I strongly believe that art and artmaking can be Healing and I try to encourage hope and joy through my work. I also write - poetry and stories - self published; took part in many exhibitions.I love colour and imagination and creatures x
IN THIS MOMENT we need LOVE and PEACE most ! !
Reduction lino print in 2 colours; it is featuring medieval style personages - a Dragon lovingly holding the arm of a Girl; on her chest she is holding a Bird.size of image mounted h 50cm x w40cmNice IKEA frame is one inch in addition; I don't know if it would be just mounted.
AXvXdGDOft.jpg
37 1103
Dolly’s Dress
A relic from my children’s childhood with the capacity to spin me back to innocent days.
JachKIqygr.jpeg
38 1102
Visual artist and member of Belfast Print Workshop working primarily in photography and intaglio printmaking techniques, exploring themes around psychological spaces and mindscapes. https://www.lisamurray.art
Soon
‘Soon’, CMYK Photo Intaglio, Image size 10x15cm, Paper size, 25x35cm. This piece is from a series of work entitled ’Room’. It depicts a space, physical or psychological, which is waiting for something to happen, or waiting for something that will never happen. ‘Soon’, explores the themes of uncertainty, ambiguity and time.
MVjEhcOUMK.jpeg
39 1101
Cormorants on Cromer beach 1
Monoprint 20cmW X 25.5cmHA rainy evening when the cormorants were all poised on the groyne looking out to sea. They are a very ancient type of bird with ancestors related to the dinosaurs. In Norwegian culture they are thought to be the spirits of those lost at sea
MCOyZBPhNU.JPG
Persephone
Monoprint on Kozo paper 21.5cmW X 26.5cmHThe myth of Persephone, who is forced by Hades to spend half the year in the Underworld is an allegory of the life cycle of plants. This print represents the moment she first finds herself in the Underworld among the decomposing remains of plants, which will fertilise new growth in Spring
mcJNlVEOcO.jpg
Cormorants on Cromer beach 2
Monoprint on Kozo paper 21.5W X 26.5HCormorants are a very ancient type of bird with ancestors related to the dinosaurs.Their dark silhouettes have a sinister aspect. In Norwegian culture they are thought to be the spirits of those lost at sea
tSZTKkUZGr.JPG
40 1100
I am a printmaker working in lino, drypoint and collograph, enjoying the stepwise approach to the process, with inspiration often arriving from a sense of place, emotional or physical.
Thornham Magna
Traditional monochrome linoprint of suffolk village Thornham Magna.Oil based ink on acid free paper.Printed area 20 x 20 cm, mounted, in simple black wood frame 40 x 40cm.Framed Limited Edition Print £110 Signed Limited Edition Print.
AxPTUpgVFW.jpg
Skellig Gannets
Mulltiblock linoprint of the Skellig Islands.Oil based Ink on acid free paper. Printed area 15 x 10cm, mounted in simple black frame 33 x 22cm Framed Limited Edition Print £60
GMnZtKNiAc.jpg
Glencoe
Collograph of Glencoe.Oil based ink on Fabriano paper.Printed area 17 x 17cm, mounted, in simple black frame 32 x 32 cmFramed Limited Edition Print £90
nAPTiEMmst.jpg
41 1099
I am fascinated by plants they are by degrees, ephemeral – tough –resolute – demanding – delicate – rewarding and frustrating. I have previously worked with plants and studied horticulture. I use plant images in my work which naturally shows seasonal changes as the plants are depicted through the seasons. To grow plants you have to have good resolve and come to terms with things totally out of our control, change, death and decay but they also hopefully make us look forward to next year’s excitements and horticultural challenges.
'Daisy Daisy Daisy', lino monoprint series, image size 32x34cms
I adore daisies in all shapes and sizes. Daisy Daisy Daisy, is a varied series of monoprints, I’ve created a monoprinted lino base with the white daisy forms on, layered inked textural papers and inked separate cut lino pieces on top when the first monoprint layer was dry. Each print is a little different as I made separate decisions about colour and where to place the lino pieces with each print, keeping it fresh.
srxOpNwfrp.jpg
'Ox Eye Daisies' Mono linoprint series image size 24x32cm
The joy that ox eye daisies bring each year, nodding heads along the verges are a breath of much needed fresh air. I have relished creating this mixed media print using materials not usually associated with printing, this gave me license to be more playful, spontaneous and subtle with textures and colour
kAlAmlbQdk.jpg
'Wild' solar lino monoprint series 37x11cms
A depiction of a natural, wild slice of nature, incorporating buttercups and lawn daisies, some would call weeds but wildflowers are essential for the environment.I've built up the colours by starting off with a monoprint background and layering colours on top, ending up with a warm glowing print
jfWfvpvgxp.jpg
42 1098
‘Crafting ways to listen, hearing all belongs’The natural world is the initial stimulus in my commitment to become present to inner and outer landscapes. Compassion for the other-than-human world leads to creative adventures, often with foraged and natural materials. Symbolism and lore interweave and work emerges that seeks resonance, hidden wisdom, relationship and connection.
Oak fo weeping
Oak gall ink screenprint with added charcoal drawing. 25cm x 58cmmounted on wood with D rings.In the Bible, Allon-Bakuth - the oak of weeping: a name given when the beloved nurse of Rebekah, Jacob’s wife, died. Maybe we need to grieve in the sight of a tree known to represent strength and endurance: its presence telling us this grief will change and we will survive. Or maybe it is weeping about its own threatened existence, calling out for our strength and endurance to prevail and effect hope.
zNEdJiTYSu.jpg
Cow parsley
Acrylic monoprint 20cm x 26cm will be framedIn folklore, cow parsley represents the turn of the season, being found on verges and in hedgerows - sites associated with liminal places, places of transition, boundary markers. Thus, it can be seen as a pause before different stages of being; an invitation to be present in the moment.
hzYmowWDxW.jpg
Here today, gone tomorrow
Ecoprint with iron and copper water. 29 x 21, frame 38 x 30.5A process of being in the moment: collecting grasses and flowers from hedgerows; arranging them and then seeing what serendipitous results will appear once steamed. A lasting reminder of the beauty that can be so fleeting.
kNXfgmcSZx.jpg
43 1097
Danielle uses the process of Cyanotype, a simple photographic process using sunlight to create a distinctive Cyan blue and white image. Seeking inspiration from the Norfolk countryside and coastline, and the flowers she grows in her garden and foraged locally. Each Cyanotype captures the fresh or dried plant in that moment in time. With each successive print varying slightly depending on light and the form itself. Simultaneously creating a direct print of the subject and an original at the same time.
ALLIUM STEM
Cyan blue and white Original Cyanotype print Bockingford watercolour paperPrint 28x38cm Framed 40x50cm (approx)Price £110Dried Allium, a print that can be reproduced multiple times, but with each one the Allium changes shape, loses a seed stem, and the length of exposure captures the Allium in that moment.
BLyZEjEYiU.jpeg
SNOW DROP 3
Cyan blue and white Original Cyanotype print on 300gsm Bockingford watercolour paperPrint 14x8.25cm Framed 30x20cm (approx)Price £45 Pressed Snow drops, hard to judge with exposing and each one shows themIn a slightly different light. The detail and pattern in the petals and the outline changing with each print.
jskiuvLQyM.jpeg
COW PARSLEY VIEW
Cyan blue and white Original Cyanotype print Bockingford watercolour paperPrint 28x16.5cm Framed 30x40cm (approx)Price £95Fresh Cow Parsley, a glimpse of the plant in one single exposure. A complete one off print, of the Cow Parsley stems layered to imitate them as seen at the roadside. A suggestion of the same print can be recreated, but not exactly the same as the previous.
eShjJgIuqQ.jpeg
44 1096
Karina is a printmaker who uses planographic processes to explore narratives and places often hidden within the landscape of East Anglia. Her work focuses on the inter-play between permanence and transience; it explores liminal spaces - ones which reveal hints of events, traces of identity, markers of time – posing questions and provoking conversations.Karina graduated from Camberwell School of Art with a BA in Three-Dimensional Design and 10 years ago completed the advanced printmaking course at the Curwen Print Study Centre under master printmaker Stanley Jones.
Poppyland
Screen print V/E 1/6. 67 x 82 cmsPoppyland is the first in a planned series of prints exploring landscapes, plants and stories. The fleeting life of poppies, their ability to survive and the transformation they bring to often over-looked liminal landscapes is almost magical. From Nicolas Culpeper to Clement Scott, poppies and people have been entwined and the brief beautiful poppy season is a reminder of that relationship.
miOSyqUCvv.jpg
45 1093
Trained in traditional printmaking methods I now make frequent use of gel prints for their textural properties in collage and mixed media works.This sits well with my frequent subject matter of landscape and townscape and can add a sense of mystery and ambiguity.Much of the work reflects a preoccupation with both aerial and cartographic viewpoints; also way back from living in Australia a sense of the desecration of the land. Arecent flight there led to a series of semi-representational aerial watercolours ( This Scarred Earth ) and the current series of collaged abstracted aerial views of brief moments glimpsed from the plane.
Useless Loop Airport
A glimpse of a Western Australian outback airport from a plane.30 x 21 cm, Gel print collage.
HoUeJYeATF.jpeg
Wooramel
A glimpse of a Western Australian sheep station from a plane
XhXlWOIdkl.jpeg
Minilya Bridge Roadhouse
A glimpse of a Western Australian roadhouse from a plane
RHSUSKzPPu.jpeg
46 1092
Through drawing, printmaking and photography, I explore isolating the simple shapes found in architecture and use these to create my own imagined structures and cityscapes. I have a playful notion of architecture that mirrors that of using childhood building blocks returning to the process of play and discovery. In a world that is fast paced, I intentionally opt for slowed down processes, revelling in the time to think through making. The discovery of the cyanotype process has been a pivotal development in my practice in recent years embracing the imperfection and the time spent labouring over creating an image.
Decrypt
Decrypt is a cyanotype print created from a digital image negative that has been cut and rearranged; mirroring that of a code. Isolating the pattern and form highlights the beauty in every square inch of this piece of the brutalist architecture. The print is 21cm x 15cm.
xXCSJdVVwv.jpg
47 1090
My work hovers around the edges of abstraction and is influenced by my interest in movement and its interaction with landscape. While addicted to etching, I am interested in experimenting with different methods of printmaking and enjoy spending time trying to find the right medium for a particular project. I am a member of Printmakers Council and exhibit in PMC group shows in the UK I have work held in the Kochi Paper Museum Japan, Scarborough Museum and the V&A London.
Shifting Sands
Collograph print. Edition of 3. 1 available.
zxnvdRUBkD.jpg
Spring Fever
Etching with white ground aquatint.Edition of 3. 2 available.
StWPERrRwi.jpg
48 1089
In January 2024 I experimented making sculptural towers of plaster embedding, discarded and washed up objects found on the beach. From these I made several multi - viewpoint drawings which formed the basis of the imagery in the prints. Trudging along the beach with numb hands and head down in the icy North Sea winds looking for interesting items, they represent the reality of ‘In the moment’.Collagraphs with carborundum are a new departure for me, I enjoy the positivity of the process, the freedom it gives to transform and its ‘low tech’ experimental nature.
Nets, Collagraph with carborundum print 23cm x 23cm, framed 42cm x 42 cm
Green with age and algae it’s easy to imagine stories that the nets could tell.
cbkeQUiYtm.jpg
Land, Collagraph with carborundum print, 18 cm x 18cm, framed 42 x 42 cm
The constantly shifting coast buries and reveals surfaces in the land transformed in the print through layers of marks and colour.
PkMFINSdpG.jpg
Flow
Pulled back and forth by the tides phenomena appear and disappear, their moment is short-lived.
KOXLvJhSrJ.jpg
49 1088
Jo Mc Allister is a printmaker based near the Severn Estuary who uses non-toxic intaglio processes to evoke a sense of the temporalities within coastal landscapes.She is inspired by the large open skies of the Severn Estuary and seeks to foster a deeper connection to the natural world. In these etching of gulls, flight, thermals and clouds that capture the fleeting essence of these moments and inspire a sense of awe and reverence for the boundless skies above. The evolving patterns of clouds remind us of life’s impermanence and the endless possibilities and rise to the challenges we face in today's world.
Rise I
Limited edition hand printed etching on archival Hahnemühle 300gsm paper (40cm x 24cm).
ObTaBiSfpv.jpg
Rise II
Limited edition hand printed etching on archival Hahnemühle 300gsm paper (40cm x 24cm).
QzlIwxxsun.jpg
Rise III
Limited edition hand printed etching on archival Hahnemühle 300gsm paper (40cm x 24cm).
cpfeKlUtjG.JPG
50 1087
Jo Mc Allister is a printmaker based near the Severn Estuary who uses non-toxic intaglio processes to evoke a sense of the temporalities within coastal landscapes.She is inspired by the large open skies of the Severn Estuary and seeks to foster a deeper connection to the natural world. In these etching of gulls, flight, thermals and clouds that capture the fleeting essence of these moments and inspire a sense of awe and reverence for the boundless skies above. The evolving patterns of clouds remind us of life’s impermanence and the endless possibilities and rise to the challenges we face in today's world.The Rise series capture a sense of the fleeting and every changing skies over the Severn Estuary.
Rise I
Etching Hahnemühle 300gsm paper.
FBBsjjFWwZ.jpg
Rise II
Etching Hahnemühle 300gsm paper.
LZEBQtsgur.jpg
Rise III
Etching Hahnemühle 300gsm paper.
qhHhEFYAEJ.JPG
51 1086
Jo Mc Allister is a printmaker based next to the Severn Estuary in the UK who uses intaglio processes to evoke a sense of the temporalities within coastal landscapes.She is inspired by the large open skies of the Severn Estuary and seeks to foster a deeper connection to the natural world. In these etching of gulls, flight, thermals and clouds that capture the fleeting essence of these moments and inspire a sense of awe and reverence for the boundless skies above. The evolving patterns of clouds remind us of life’s impermanence and the endless possibilities.The Rise series capture a sense of the fleeting and every changing skies over the Severn Estuary.
Rise I
Etching Hahnemühle 300gsm paper.
kXHmEbyMqr.jpg
Rise II
Etching Hahnemühle 300gsm paper.
dRmHvekMOZ.jpg
Rise III
Etching Hahnemühle 300gsm paper.
YiFrSLFEyx.JPG
52 1085
‘In the Moment’In my work I try to capture a sense of the changing textures of nature and the environment. How the seasons have an impact on the very transient existence of the landscape. In spring there is new growth and in winter leaves fall from the trees and nature becomes dormant. In my work I often collect branches, leaves, tiny fragments of bark and incorporate these during the process of making the collagraph plates. In this way I hope to convey an element of the constant shifting layers of the landscape.
Landscape Surface 1
Unique collagraph. I make marks onto the plate by incising, scraping and sticking on different textures. I also collect material from the landscape itself. The plate is sealed with gesso, which I also work into before it dries. The plate is then printed through the press to reveal the surface textures.
FTYHdpbYOr.jpeg
Landscape surface 2
Unique collagraph. I make marks onto the plate by incising, scraping and sticking on different textures. I also collect material from the landscape itself. The plate is sealed with gesso, which I also work into before it dries. The plate is then printed through the press to reveal the surface textures.
yYvYeGhHPp.jpeg
Landscape surface 3
Unique collagraph. I make marks onto the plate by incising, scraping and sticking on different textures. I also collect material from the landscape itself. The plate is sealed with gesso, which I also work into before it dries. The plate is then printed through the press to reveal the surface textures.
LtRwFFfGlu.jpeg
53 1084
The versatility of print opens my creative eyes to the foibles of human behavior.Endlessly fascinating people-watching, now I have reached the age of invisibility, allows me to kindly criticise my own species.
Watching the Nightwatch
The ubiquitous use of mobile phones, instead of our eyesight to view famous works of art can, and should, be satirised. This is the inspiration for ‘Watching the Nightwatch’. The only only figure ‘in the moment’ is the figure in the foreground with his back to us. A drypoint printed in oil-based ink.
TdzGMHssmT.jpeg
54 1083
In 2005 Rebecca completed a Doctorate in Fine Art at the University of East London, having previously studied at St Martins School of Art (1987-1990) and Birkbeck College, University of London, where she completed a postgraduate diploma in Arts Management in 2000. Rebecca has exhibited her paintings and print works widely, at the Politis Gallery in Nicosia, Cyprus (Against Lethe) and at the Mile End Art Pavilion, London (The Geographical Self), East Street Arts, Leeds (Close to Home), and taken part in a range of publicly funded projects and academic conferences throughout the UK and abroad, notably at the Universities of Coventry, Dundee, Leeds and Southampton City Art Gallery.
Elemental 2023
Elemental 2023 Dry Point 26x26cmMoving to Norfolk in 2017 encouraged a more concentrated interest in the North Sea and its intriguing geography and climate. The issues of scale, surface and depth, distance and proximity, and the passing of time are all part of what attracts me to this restless panorama. The North Sea is for me both a subject in its own right and a foil against which to present isolated actions, stories, feelings and ideas. Light is the most fascinating components of this part of the coastline, whether outside or indoors the experience of being stationed close to the sea is constantly engaging.
VonsLFIxqG.jpg
55 1074
Alan MacKenzie started investigating techniques and media of artistic production after retirement. After producing a variety of paintings, in oils and acrylics, he also experimented with various modes of printmaking, including etching, woodcuts and linocuts. Eventually this led him to focus on the techniques and possibilities inherent in screenprinting.His artistic objective is to present personages, images or buildings in ways that generate interesting colour and quirky design twists. A solo exhibition of his artworks was held in North London in spring 2022, as a fundraiser for the Disasters Emergency Committee.
Gairloch Sunset
Screenprint (2024)Edition of 6Image Size 42 x 59.4
lxSkGaIYkb.jpg
Danaus Plexippus
Mokulito and ScreenprintEdition of 2Image Size 39 x 49
JjuAUxwnPs.jpg
The Ancient Mariner
ScreenprintEdition of 4Image Size 29 x 29
vFKXXWyxEQ.jpg
56 1073
Within my practice I explore nostalgia within my confesional pieces, allowing the viewer to take a glimpse into my past through the relatable and accessible themes of memory and family through which my work allows myself and others to reflect on the passage of time.
Self-Portrait at Sutton Close, 2005
Intaglio drypoint print, Oil based ink and Chine Colle on Fabriano paper, 71 X 48.5 cm (Can be reduced), March 2024(Not for sale)This piece responds to the brief ‘in the moment’ by inviting the viewer to look back to a moment in my own childhood, speaking to our unhealthy relationship with nostalgia and incessant need to document experiences.
nMiGPowxUr.jpg
57 1068
My work focuses on people and environments. These have been gathered through observations in sketchbooks, gathering a collection of fleeting moments and observations in everyday situations.Both pieces capture the moment, using drawing and print process to capture the ordinary, the mundane, and the art of waiting. Created to celebrate the ordinary and elevating this to a level of fascination. Through Intaglio process they capture a sense of place and atmosphere, capturing a moment of reflection for the character.
Man and Dog waiting on Toll
Solar print- Intaglio print on A3 300gms Hahnemuhle paper Title: Man and Dog waiting on Toll, 2024, intaglio print. Edition available on request.
VKRWCsRcoZ.jpg
Fishing in Felixstowe
Solar print- Intaglio print on A3 300gms Hahnemuhle paperTitle: Fishing in Felixstowe, 2024, intaglio print. Edition available on request.
wxMwDoSenR.jpg
58 1065
I am currently a student of Fine Art and Norwich University of the Arts. My practice is currently around 'Constraint of Voice' which encompasses everything from a lack of voice to increasing awareness of importance of voice especially from marginalised groups. I am especially passionate in expressing voice in mark making, layers and 'noticing' absence of voice in a number of mediums.
Sea That Binds Us
This screen print was created from one of my photographs at Happisburgh and catches a moment in time of erosion, repetition and the art of 'seeing' through different eyes. Each moment we have is unique. Just as you can't stand in exactly the same place in the sea twice this piece invites you to explore how we are inextricably linked with nature and the changing landscape. How do we value our moments in time and what we experience? Perhaps we need to look closer.
FtsqsqCkIs.jpg
59 1064
I graduated from the Cambridge school of Art with a first class honors degree in Fine Art/Printmaking and have exhibited at numerous exhibitions nationally. I’m a full time artist and work in my studio at home at the top of my garden in Bury St Edmunds. • My work is centred around the found object, but this also overlaps with notions of excavation and the land. Acting like a mediator, selecting and presenting items for the consideration of the viewer. The process of how I work is dictated by the objects/materials/shapes I find and this is where I find inspiration which informs the journey of creating, abstracting forms and shapes. Museums are a strong influence as museums can live in our drawers, cupboards and imaginations, awaiting their moment of arrival. Printmaking is a prominent factor in my work which is often thought to be a very traditional medium but I try to push the boundaries of printmaking to a new refreshing approach. This discipline is often layered using multiple printmaking techniques to create depth and interest. The desire to truly understand our relationship with objects through a cross disciplinary approach is my focus as an artist.
Aldeburgh Collagraph Series 5 IV
Collagraph print
SylnTXIjxF.JPG
Drive home on the A143
Mono and Lino Print
hZFHEpcDfZ.jpg
Found Shapes Series 3 II
Mono and Lino Print
yYLQtSDZcq.png
60 1063
These etchings are part part of an investigation into cloud formations. They aim to depict the contradiction of monumental forms which are nevertheless in constant motion.
Passing Clouds
Aquatint etching on Somerset paper.38cm x 28cm£200 (excl frame)
IGGFcVvzvt.jpg
Two Clouds
Aquatint etching on Somerset paper.28cm x 38cm£200 (excl frame)
ZwmgNTLviJ.jpg
Breaking Clouds
Aquatint etching on Somerset paper.28cm x 38cm£200 (excl frame)
FcOqZBhbyr.jpg
61 1060
A full time photographer & filmmaker I first started making linocut prints in 2023 and really enjoy the process.An RNLI lifeboat crew member at Sheringham since 2000 I love the sea and the North Norfolk coast so all of my work is on a coastal theme.
RNLI 200 years
A reduction cut lino print to celebrate the RNLI bicentenary in 2024, featuring an all-weather lifeboat battling through a storm. The print reflects the passing of time, 200 years to be exact!
ArwrPLzyXl.jpg
Fin to Fin
A reduction cut lino print of two mackerel swimming in the clear seas on the North Norfolk coast in summer months with the Norfolk cliffs in the background. The passing of the seasons and the migration of the mackerel, following the whitebait, marking the passing of the seasons on the North Norfolk coast.
reTZLVJxsS.jpg
The Mermaids
A reduction cut lino print of two mermaids in a storm at sea - mermaids represent the power of nature to nurture and sustain life. With the current state of the climate and the seas warming, ice caps melting, extreme weather events and multiple species on the brink of extinction the image represents a pivotal time in the earth's history, a time which even the mermaids/nature cannot balance so it is down to mankind to reverse the damage done to the planet. The clock is ticking.
HOgSgIAUPS.jpg
62 1054
Sheila’s work takes a critical view of social, political and cultural issues and is motivated by the evidential ironies of photography and the technical complexities of printmaking. Using a variety of materials and processes she creates work that combine photography, drawing, and a host printmaking techniques.Sheila teaches Printmaking and delights in the role of Resident Artist where she promotes the perception of Art and Community Engagement. BA (1st) 1998, MA 2002, and selected as Member of the Society of Designer Craftsmen, Feb 2023, and ongoing Member of Printmakers Council with whom she continues to exhibit.
Swimming to the Surface
I am influenced by place. Near my studio there is a 15C tower, isolated in a graveyard at the end of a cul-de-sac. Discovering that this was the place where the last witch in England was drowned, explained its otherworldly atmosphere to me. Drowning witches was sometimes called ‘Witch Swimming’, hence the title of the work. The injustice of these acts hit me as yet another way women have been wronged over the years, and it felt important to mark the life of this woman, Ruth Osborne, with a tribute that re-establishes her innocence.As a printmaker, making marks and layering are important ways to impart a narrative; here I have juxtaposed two different Intaglio Etching plates in contrasting colours and created surface texture and tonal interest with a monoprint collage.
AbuhccxCWh.jpg
Japanese Maple
This print inherits and modifies Julia Kristeva’s writing about Time from the perspective of motherhood and reproduction. This work explores Cyclical time and its biological rhythm made visible by the changing seasons. This double-plate photogravure with random monoprint layers is a celebration through shape, shadow, colour and seasonal abundance juxtaposed against the image of slimy wet tarmac - the final fate of the glory of Autumn. It also stands as a tribute to the poem, of the same name, by the late Clive James
OJnrvvbYGQ.jpg
Escape Room
Julia Kristeva’s essay ‘Women’s Time’ sets out to explore the way in which the feminist movement both ‘inherits and modifies’ a certain conception of time. She celebrates Monumental time as a massive presence that is all-encompassing and infinite like imaginary space and virtual reality. This print asks questions about what it means to be conscious and evokes an ‘uncanny sublime’ aesthetic offering imaginative escape.The image has been reduced to a dot screen and then exposed on a light-sensitive plate. The miniscule particles of copper leaf an almost imperceptible representation of human potential.
OZvBwCKAoR.jpg