Print Fair 2023

Print Fair 2023
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Multi-disciplinary practice centred around photography and digital media stretching from the use of AI image generation to good old-fashioned roll your sleeves up work. Thematically involved with an awareness of human consciousness as being but one way of experiencing the world.
The Confluence Of The Birds
Hand-made original cyanotype
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Amanda Edgcombe's work uses materials and references from architectural and natural environments and personal experience. Patina, chiaroscuro and layered surfaces recreated to describe the changing effects of inhabited spaces past and present. Edgcombe graduated in printmaking at MA from the Slade in 1993, and BA in Painting at Nottingham. She was awarded a Fellowship in Architectural Glass at Central Saint Martins and completed post graduate studies in glass at CSM.
Lemon sky
when you close your eyes - the sun and colours that splinter past, shadows, sunlight, eye movement, memory, summer. carborundum monotype
reflections in the space and water that surrounds me - the night sky, water, circuit, circularity of space and time, revisited landscapes - medieval timbers and architectural details, deep tone pigments and tarnished metals
returner corner
made after and about a painting - the cycle and waterfall of materials colliding, revisited walls and marks made on architectural space become clouds and shapes reimagined
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I am an experimental printmaker and I teach art and printmaking to primary school children. Last year, I purchased a press and I can now explore drypoint, collagraph and monoprint. My collages explore texture, colour, pattern, shape and my themes centre around the sea. The collaged shapes are cut out from discarded collagraph, monoprint and drypoint (tetrapak) prints. The monoprinted backgrounds are created from left over ink sometimes drawn into with tools then printed, or just rolled. Serendipity is part of printmaking and I embrace it as it allows me to play and learn. And it’s incredibly addictive!
Those you wish for
Mixed-media collage Drypoint, ink, pastel. Image size 22.5ams x 16.5ams
The Bluest Moon
Monoprint collage Image size 21cms x 23cms
Sea sculptures
Collage : Monoprint and Collagraph Image size 21cms x 26cms
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Etchings from journey drawings . Cornwall and New Zealand.
Cook Strait Journey
Box of Etchings
Raukawa Moana
Etching .
Ped ne Vounder
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As a painter, I have not really entered the world of printmaking as part of my practice of making work, mainly because there is a lot that takes up my time with painting. This work I am entering was a rare opportunity to get an idea of the scope of what is involved with Etching/ Aquatint processes.
Two Men
This Aquatint was directly inspired by a painting by John Kiki ( titled 'Two Men,' 1983) I saw in a publication and was when I lived in North London. It was among my first trials with this process.
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My work is inspired by the natural world.My aim is to portray the quirky characteristics of the creatures that I've been lucky to observe at first hand.
Hand printed screenprint
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I'm relatively new to printmaking but have worked as a professional artist for a few years now, creating primarily abstract resin paintings. I'm enjoying exploring this new medium and my prints thus far have been inspired by the garden and our efforts to encourage more wildlife. The fragility of Earth's biodiversity and the dependence on pollinators for our survival cannot be overstated. They and we are "on the edge".
Single colour lino print measuring 20x17cm.Printed in Prussian Blue ink on heavyweight paper.Mounted and framed in a 40x30cm frame.
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This cyanotype was made by exposing the sensitised paper behind a section of a drawing made by the artist (printed out onto acetate) and a window frame.
Room With A View
Medium: Cyanotype on Saunders Waterford paper (425gsm)Unframed size: (H) 17.5cm (W) 21cmFraming method to be decided.
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I am an amateur printmaker working in relief and intaglio methods. “Fields Edge” is a lino block print of daisies growing on the perimeter of my local park hand-finished with gold ink. I love the simplicity of daisies.I’ve been coming to Cromer on holiday all my life. In fact five generations of family have been coming to Cromer. We love it here and hope to continue for many generations to come.
Fields Edge
Lino block print on 160gsm torn-edged white card, hand-finished with gold ink.
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Deer Deer
Etching Drypoint and chine colle, 2023 27cm*27cm(approx)
Flamingos in the tree
Drypoint and chine colle, 2022 37.5*57 cm
Lying Man
Monoprint, 2023 28.5*21 cm
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This series of prints are based on a childhood past time of walking around the house looking in an upturned mirror therefore giving the sensation of walking on the ceiling.I wanted to re-create the experience of being upside down within a domestic setting and the box nets provided the blueprint for the interior and architectural spaces I encountered.The various imagery has evolved out of a series of memories, family photographs, the stuff of family mythology creating spaces that overlap and intersect, a meeting between past and present.
Dry point etching and monoprint on box net46.5 cm by 64 cm
Dry point etching on box net31 cm by 40 cm
Dry point etching on box net31 cm by 40 cm
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The core inspiration for my silk screen prints comes from working in the Antarctic environment. Seeing shipping containers, fuel barrels, people and buildings on the ice shelf are abstracted to print. The recollection of actual physical things and experiences are put to a one off print in an abstract form.
Sunrise and pole Brunt ice shelf
Silk screen print 1/1 85cm x 65 cm
Whale oil tanks and structures at Grytviken
Silk screen print 1/185cm x 65cm
The Brunt ice shelf
Silk screen print 1/185cm x 65cm
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Billow and Breeze, Islands and Seas
Multi-layered, gelli mono-print, acrylic on paper, 33 x 26 cm (unframed size) £75
I am Light and Dust
Multi-layered, gelli mono-print, acrylic on paper, 21 x 25 cm (unframed size) £75
Of Dust and Light
Multi-layered, gelli mono-print, acrylic on paper, 21 x 25 cm (unframed size) £75
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These prints are part of a body of work exploring a counterpoint between the human form and the properties of light. The imagery for the mezzotints is derived from video stills of dance theatre performances by Pina Bausch. The light patterns, which render as dark repeating traces, are captured from a double-slit experiment using a laser beam exposed on to photographic emulsion.
"Decoherence" 2
2022. Mezzotint & photographic emulsion on paper.
"Decoherence" 3
2022. Mezzotint & photographic emulsion on paper.
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I forgot to add a description! I have become fascinated with fairytale. At the edge of the woods... on the edges of perception ;on the edges of innocence and on the edge of danger. From within the shadows is the bright beckoning .
The bright beckoning
Black ink Mix of Collagraph,monoprint, block print and drawing. Black ink. A3 £30
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My mark making is informed and inspired by the Norfolk landscape, currently the saltmarshes at Cley. My expression of colour is drawn from a career in Textile Design. Now I enjoy drawing, painting and printmaking as a continued expression of my creativity.
Cley Saltmarsh #1
Monotype printed on zerca paper. Print 19 x 28cm Framed 28 x 35
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A screen mono print onto the centre of a pane of glass, 59 x 42cm.This is about being at the edge of the sea at Weybourne, which can be many things. On the best days it is calm, translucent, (hence my use of glass), exquisite and inviting. It is buoyant to the swimmer like no other sea on the Norfolk coast. Other days it is raging, dangerous and impossible to enter without being smashed down. It can be terrifying and shows who is master.
Cleveland Road
A cyanotype with panels of translucent screenprinting ink. 29 x 24cm framed (no glass). This is about the weeds that grow in the city centre of Norwich where I live. Cleveland Road is where I first began to love the weeds - on early walks when the sun seemed to shine most brightly - often gone by 10am. 'One mans weed is another mans flower'. They grow at the edges of the streets, in the margins...
One of my favourite weeds, this is a solar intaglio print, 17 x 12 cm framed (no glass). I love the juxtaposition of its almost baroque curly leaves and fluffy heads hiding a tuft of bright yellow. It grows at the edges of the streets where the pavements meet the walls, under the bridges, in the cracks. Often found thriving with the homeless and the junkies of the city.
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Neil Bousfield works in relief printmaking and contemporary wood engraving. He continues to make engravings which explore landscape narrative through the concept of place and place attachment. Living on the Norfolk coast allows him to make work that aims to raise questions about communities and people who invest in places which will be lost to sea-level rise.
Cable Route I (triptych)
"Cable Route I" (triptych) explores the physical and emotional impact on a landscape and populous of a cable route connecting land and sea. Addressing ideas of routes, landscape value, and sense of place. Multiple block wood engraving, relief printed in an edition of 20. Images: 3 @ 9cm (h) x 7cm (w), float mounted and framed.. Framed size: 32 x 47 cm - available for sale framed £535
Cable Route II (triptych)
"Cable Route II" (triptych) explores the physical and emotional impact on a landscape and populous of a cable route connecting land and sea. Addressing ideas of routes, landscape value, and sense of place. Multiple block wood engraving, relief printed in an edition of 20. Images: 3 @ 9cm (h) x 7cm (w), float mounted and framed. Framed size: 32 x 47 cm - available for sale framed £535
Land and Sea: Past and Present I
Land and Sea: Past and Present I investigates how landscape spaces become the places we know and occupy. Narratives that are enriched through memory and history, enable us to make place through a palimpsest of experience and readings of landscape spaces. This is a linocut, woodcut and engraving - a relief print made from multiple block, edition of 30. Image: 16cm (h) x 32cm (w). Framed size: 41 x 56 cm – available for sale framed £595 (also unframed available)
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Shoreline Storm Wells 2023
Shoreline Storm Wells 2023. Drypoint and monoprint on watercolour paper. Size 21cm x 30cm
Shoreline Storm Blakeney 2023
Shoreline Storm Blakeney 2023. Drypoint and monoprint on watercolour paper. Size 21cm x 30cm
Shoreline Storm Morston 2023
Shoreline Storm Morston 2023. Drypoint and monoprint on watercolour paper. Size 21cm x 30cm
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my work is mainly wood & lino block prints,& not using my press but hand burnishing which I prefer for a sensitive approach often using overlays as with my st.benet print.
'Lovers' 3 lino blocks 23.8x31.1 cm
This was taken from two figure drawings which looked wonderful when I slightly overlapped them so I cut the blocks accordingly
St. Benet's Abbey 5 block Lino print 31.5x28.5cm
lino cut & etched, there is to be a 2nd development of this print which is not finished yet. I saw the figure overlaid on glass in front of my print & the two images seemed to belong to each other.
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Low grade materials and hand-made art endeavour that observes the occurring shifts in repetition.
Untitled composition
Block print on cardboard28.5 x 33 cms2023
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My printmaking practice explores transient moments of light and nature. I combine cyanotype and screen-printing processes, using the natural forms themselves to create works that capture the preciousness of Mother Nature's creations. The cyanotype process uses the sun as the light source, fusing the connection to nature and the life force itself. I use pure metallic pigments and gold leaf in my work to emphasise the preciousness of the natural world around us. The Wild Margins series looks at marginal plants, celebrating the fragile grasses, weeds and wild flowers that get forgotten at the edges of fields and paths.
Wild Margins I
Cyanotype - tea toned, double exposure with screen printed metal pigment. Created using the natural forms themselves as stencils and masks. Float framed in bespoke frame. 35w x 44.5h cm image. Will be floated in a box frame.
Wild Margins II
Cyanotype - tea toned, double exposure with screen printed metal pigment. Created using the natural forms themselves as stencils and masks. 38w x 48h cm image. Will be floated in a box frame.
Pathway: tread softly
Cyanotype - tea toned, double exposure with screen printed metal pigment. Created using the natural forms themselves as stencils and masks. 44w x 12h cm concertina image. Will be floated in a deep box frame.
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Octopus are so rarely seen by the human eye in their other-worldly ocean habitat and yet they are so very akin to us. Living at the edge of our existence, octopus have intelligent brains, with the ability to memorise, plan and adapt. Sensitive creatures sharing similar genes to ourselves. Printmaking in this playful collagraph form captures a unique moment where the ink transfers to the page, in the same way that momentarily one may encounter an octopus.
A moment with an octopus
Relief collagraphPrinted image 21cm x 15cm
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In my practice I work with different media, to explore an interest in community. My socially engaged practice has included focussed work with women’s groups, allotment holders, and older people. Commissioned to make site specific work in the UK and Europe I have presented my outreach work in partnership with galleries at conferences both in the UK and Germany.I have always had an interest in plants, the people who grow them, and interpretations of the concept of ‘nature’. In recent work I have brought plants into the making process, placing them onto the inked plate and printing directly from them.
Hold on
This proposal uses the flora of the Norfolk coastal edge, to make new prints, that join together to represent the whole plant. I would like to display these as enlarged photocopies of the original prints ( playing with the sense of scale), fly posting in the public realm on selected exterior surfaces around the town. I will make new prints directly onto each of the enlarged artworks so that there is a unique creative mark by me / plant, that acknowledges the originality of each exhibit. ( various sizes)
Belief in dark nights
This work was made last winter and explores connections and community in challenging times. 210 x 260mm paper on found wood
The lost and found
This print explores my experience of an illness and treatment. 295 x 410mm
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I made myself a swamp den, and I like it in here, and I'm not coming out and your can’t make me
Copper etching
Two etchings folded to form a matchbox(I also have a 2D version of these etchings if needed.)
Old Oak Tree
Aluminium etching with watercolour chin collé
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As an artist, a researcher and primary teacher, I am particularly interested in the construct of childhood and the childhood experiences and personal narratives that form our memories and contribute to our identities. I enjoy exploring combinations and collections of images, words, and repeating motifs. Ladybirds, or ‘bishy barnabees’, are among the best-known and most well-loved beetles, and have a place in my own childhood memories. The representation of them in the bishy barnabee series of lino-prints explores how a simple, small motif can increase in visual power and impact through repetition, number and in being part of a collective.
Waiting for Spring warmth
Lino-print 57cm x 42cm (including frame) (Image alone: 46cm x 31cm)Image includes haiku text: 'Bishy barnabees. Dormant on the window's edge. Waiting for Spring warmth.'
A loveliness of ladybirds
Lino-print57cm x 42cm (including frame) (Image alone: 46cm x 31cm)
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Working with processes including print, drawing, and photography. I rely on other creative avenues such as gathering, walking, observing and listening to fuel my excitement for the elusive feelings I seek to illustrate. I give a deeper meaning to the objects I collect, by coordinating image and text
Souvenir, sit with me
250 x 250, Screen Print
Treasure Thrill
250 x 250, Screen Print
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Footprints at dusk
6"X4" Linocut on orange 180gsm acid free paper
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Edges are intrinsic to my work, from the cut sides of the intricately collaged pieces to the borders of the screenprinted geometric shapes. But the edge of the work itself is elusive – the repetition extends to the end of the surface, giving the impression that what is seen is only a snippet or a thumbnail of the whole. What is outside of the image is unknown. In this sense, the ‘edge’ extends beyond the visible, leaving the work sitting firmly ‘on the edge’.
NH13-23DL (Encounter)
Folded screenprint collage on Madrid Litho Paper on board30x30cm2022£350
OD121-20ii (Endless, Endless)
Screenprint collage on Madrid Litho Paper on board20x20cm2023£195
DD62-20xi (Stacks)
Screenprint collage on Madrid Litho Paper on board20x20cm2023£195
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Prints are done by hand from a Lino cut.
The Edge of Lochaline
Inspired by the Sturgeon Moon 2022. Size: 21 cms x 14.8 cms. Medium: water based printing ink
The Edge of the Cliff
Image inspired by watching the moon rise from cliff top. Size: 21 cms x 14.8 cms. Medium: Water based printing ink.
The Edge of the Blanket
Size: 29.7 cms x 21.2 cms. Medium: Water based printing ink.
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Rocky chart
This collagraph on an old chart is inspired by Guernsey where I grew up. Whenever conditions allow, the sea around these cliffs is negotiated by fishermen in small open boats who place their crab and lobster pots as close as possible to the treacherous rocks. Image size (unframed) is 20x33cms and is framed in non-reflective glass
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I am a new hobbyist printmaker and would love the chance to see my work in a public space. I hope my interpretation of the theme has come through in the images submitted: the hardest part was interpreting the theme to come up with ideas! Thanks for looking at my works, and providing a platform. @marklearnslinocut on Instagram.
Clovis Spear Point
This simple print depicts a Clovis spear point in the collection of The British Museum. 13,000 years ago this piece of flint was thinned and shaped to create a symmetrical weapon with razor-sharp fluted edges, which would have been used for hunting mammoth in North America. Open Edition.
After Rosalind Maingot
This work is inspired by an untitled Rosalind Maingot photograph in which a woman covers her face with a cloth that drapes over the bed on which she sits. Despite the sensuality of the nude figure, I have always interpreted this picture to show a moment of catharsis- the stifled outburst of a woman on the edge. Edition of 14.
Alta, Northern Lights
Located on Norway’s crinkly northern coast, Alta has the feeling of being on the very edge of the European land mass. To the North, only Svalbard and the tiny Bear Island break up the sea before arriving at the Arctic ice pack. At 250 miles above the Arctic circle, this image depicts the northern lights behind the impactful modern cathedral. Edition of 10 - now trimmed and signed, though picture taken before this had been done.
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Edges, soft and sharp borders, lines of colours across the landscape meeting and melding into each other, a particular quality of light and mood. These are the basic underlying concerns in my work.Although primarily a painter, I have used the discipline of simple screenprinting techniques to reduce these ideas to their essence.
Manganese blue / Lemon yellow
Unique screenprintimage size 20 cm x 20 cmwill be window mountedframe size. 43cm x 43 cm
Cadmium yellow / Cadmium red / Manganese blue / Light grey
Unique screenprintimage size h 16cm x w 20cm, will be window mountedframe size 43 cm x 43 cm
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My practice is rooted in the outdoors and is a response to an ‘action’ – usually walking or swimming. The environment is often used to shape the work itself: sometimes I bury etching plates in the landscape and allow them to rust, sometimes I map and chart changes to the environment while I’m in it. Chance, control and time are central themes and I usually work within a pre-determined set of parameters. Instagram: @hazelburgessart Email: (Name for any payments is Hazel Story)
Breathe Breathe is from a body of work shaped and created by the sea. Made in the space between low and high tides, where the sea meets the land. It’s a trace, an impression, of time spent submerged – engulfed by the rhythm and power of the sea. Created during the time when we were in and out of lockdown in 2021 – a time when it felt like we were all on the edge. Breathe is a single edition etching. 50cm x 40cm framed. £400. Instagram: @hazelburgessart Email:
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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.
In the Night Garden 2
Woodblock print and watercolour. size: 60x45cm.
Woodblock print and watercolour. size: 60x45cm.
Multiblock linocut print. size: 60x42cm.
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Screen printV/E of 5paper size 30 x 42 cos
Screen print V/E of 5paper size 30 x 42 cos
screen printV/E of 5Paper size 42 x 30 cos
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Rachel Sargisson took up art after a break of around 40 years (since school days), during lock down. She started painting in watercolours for the first time, and then using all sorts of media, at a weekly art lesson in Norwich. Her work is mainly inspired by scenes from walking her dog (Boo), green spaces and the beach. She also loves life drawing. She works in acrylics, watercolours, soft pastels and charcoal and recently started linocut printing.She has exhibited as part of Norfolk Open Studios in both the Preview exhibition in the Forum, Norwich, and the exhibition at WensumLodge in 2021, and in the Ray of Light exhibition in the Undercroft, Norwich in June 2022.She is excited to be experimenting alongside other artists and hopes to open up her painting style to be less representational and more spontaneous.
Clouds on the edge
Inspired by the beach at Crammond near Edinburgh
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The Edge
Lino print on Mitsumata paper.
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Beach huts
4 colour screen print, 15 x 15 cm from an edition of 30, £50.
3 colour screen print, 15 x 15 cm from an edition of 30, £50.
3 colour screen print, 15 x 15 cm from an edition of 30, £50.
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I am exploring ways of embedding ‘presence’ within a surface through drawing, painting, printmaking and small sculptures. Speaking to an absence. An of archaeology of feeling and locating myself and other lost things through making. I think of the surface as a kind of membrane, embedding the mark deep within.When I made these images I was thinking about the air around a thing. They are dissolving, suspending, holding spaces. White soap ground is painted onto the zinc with unpredictable results. I mixed extender into Gutenberg black ink to feel more like graphite in a conversation between painting and drawing.
Hearing the grass grow. 2023 White ground etching, 25 x 18 cm £200 unframed
When someone walks around a bend in the river, the Pirahã people say that the person has not simply gone away but xibipí ‘gone out of experience.’
The Squirrels heartbeat, 2023 White ground etching, 9 x 14 cm £120 unframed
Both works belong together and should hang side by side. Their titles come from a quote from Middlemarch by George Elliot.If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel’s heart beat, and we should die of that roar which lies on the other side of silence.
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I am a printmaker and collage artist (2D and 3D). I make prints of scenes of places I love, usually trying for an unusual angle. I only do short print runs and prioritise the idea rather than perfection. I like to break a few rules and play around with the shape of prints. I also use print in 3 D work.
Water's Edge- St Benet's Abbey.
Reduction linocut on Kent Printmaking Paper with Cranfield Safewash inks. 1 of 8 prints. 20x30 cms approximate print surface. Will be supplied mounted and ready to hang but not framed.
Crumbling Cliff Edge - Hunstanton.
Drypont on Fabriano Unica paper. Cranfield etching inks. 1 of 6 varied edition. 20x30 approximate print surface. Will be supplied mounted and ready to hang but not framed.
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Recent travel with a safari tent allowed me to go far afield. I found diverse locations to make prints, adapting media according to site - first was the beach and then a hut in Cromer, studios at Gainsborough House, Curwen Print Study Centre, Print to the People, Norwich (now sadly gone), Ariundle Centre, Strontian in Scotland, and Joan Beal’s Studio at Octon in the South of France, have all generously provided space, for which I offer my thanks.
GAIA SHAW Into the Blue Cyano Type 11 x 8 " UF 11 x 14" Framed
Cyano Type 11 x 8" image 11 x 14" framed
GAIA SHAW Forest Moonscapes
Colour etching 27 x 20 cm image 40 x 30 Framed
GAIA SHAW Old Masterless
Etching 4 x 6" Image 8 x10" Mounted
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Working in a range of printmaking techniques, Craig is concerned with places which might be easily overlooked, and the often surprising juxtapositions between the rural and urban, or the public and private he encounters.
Drypoint monoprint. Image size 27.5x20cm, framed to appx. 40x30cm.
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A Norwich based,2D and 3D mixed media artist. Concerned with depicting undervalued personal treasures. Print making for me is a constant surprise and delight.
"After the Break"
3 unique relief prints framed together to tell a story.Size: Ht 39cms x W. 83cmsPrice: £150
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Battersea Parrots
Original mono print Image size: 14.5cm W X 18.5cm H Frame size: 27.5cm W X 32.5cm H
Digger at low tide
Original mono print Image size: 12.5cm W X 15.5cm H Frame size: 25.5cm W X 30.5cm H
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I’m a printmaker based in Norfolk, working mainly in linoprint, drypoint and monoprint. Colour features heavily in my work and my subject matter is often based on a sense of place. The printing process allows me to revisit and delve into memory.
Giant’s Causeway
This reduction print is from a limited edition of 6, using just blue and yellow ink on Fabriano paper. Inked area is 8 x 11.5 in. Giants Causeway is an awe inspiring natural wonder on the Antrim Coast. Legend has it that Irish giant Finn Mc Cumhall, tore up chunks of the coastline and hurled them into the sea, forming a pathway to reach his opponent , Scottish giant Benandonner. I love the idea that the basalt columns have benn trodden by mythical giants.
On Fabriano paper, printed area measures 6 x 6in.This depicts sheep by twilight overlooking the hauntingly beautiful Doolough. It is a site of tragedy too in Irish famine history.. it’s a spot for quiet contemplation and rememberance.
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On leaving Norwich Art School in the late 1950s, H.J.Jackson had to devise a method of printing without the services of a press. Surprisingly, the answer came in the form of his tobacco tin. He found he could use the base of this as a burnishing tool – a method he still employs to this day.The declining fishing industry features strongly in Jackson's work, and he likes his boats to look as if they have been to sea. Jackson is a Senior Fellow of the Royal Society of Painter-Printmakers and a member of the Society of Wood Engravers.
On the Shingle Bank
A caterpillar tractor stands, ready to assist fishing boats on and off the shingle bank along the North Norfolk coast, in this hand-burnished linocut by veteran East Anglian Printmaker H.J.Jackson.In 2023, H.J. (John to his friends) celebrates 70 years of linocutting. That first print, of a galleon in full sail, earned him a place at Norwich Art School. This far larger and complex multi-block linoprint proves that, seven decade later, he can still cut it!
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I produce prints of the natural world and their plants which imbue atmosphere and the emotions they evoke. They are all for sale. Edge of the Sky is £120.00 Northern Winter is £70.00 Edge of the Fens is £80.00
Edge of the Sky
A view to the sky through the treetops in a pine wood. Drypoint etching, ink on paper 324 x 240mm
Northern Winter
A view of winter trees on the edge of Northumberland moorland; drypoint etching, ink on paper 209 x 160mm
Edge if the Fens
View of a disused road leading to a waterway in the Fens; drypoint etching, ink on paper 230 x 138mm
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I call myself an experimental printmaker: pushing the limits of drypoint or collagraph with embossing; layering plates and chine-collé. I usually create monotypes rather than editions as a result. In 2021 I moved from Norwich to a small village in the fens (the edge of everywhere and nowhere) and have spent the past year trying to capture the essence of this empty landscape in my work.
straight lines
Landscape of three drypoint prints with blind embossing and chine-collé250mm x 250mm
south holland drain
Landscape of multiple drypoint and collagraph prints with tissue overlays of sky and birds250mm x250mm
fenland sunset
Abstracted landscape with multiple drypoint prints and red/orange chine-collé320mm x200mm
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My work has been from Nature, I love Colours and Imagination. I work in various in various media, including woodcuts; I was exhibited many times I recently learned Dry-Point from Craig Frost at Norwich Printmaking Hub to make my 'Animals' prints, I am a member. I used my large drawings made directly from ''life' and then they were reduced. Several Different Animals'images were made - each unique Colours. Looking for a venue to exhibit my prints, any ideas? x
'Water getting to warm for Dolphins'
Dry-Point print with Unique Colours, size 21cmx30cm,from my large life drawings of the creatures
'Jungle on Fire with Elephant'
Dry-Point print with Unique Colours, size 21cmx30cmfrom original large life drawing
'We have Food!'
Dry-Point print with unique details, size 21cmx30cmcomposition of the plate was made up from 2 separate small drawings
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Ros Copping MA. Contemporary Painter Printmaker Ros Copping’s work experiments in capturing memorable episodes of the interplay between people, creatures and place, using carved lino that imitates expressive brush work. Sometimes using reduction printing, mono printing and hand colouring and usually printed by hand to capture spontaneous marks and textures. Normally prints then lead onto larger paintings.
Hitting the sea wall Cromer January 2023
Reduction lino print hand printed using oil based ink and water colour paper in a limited edition of 10
ThreeTurnstons on the Sea Wall Sheringham West Slip way March
Reduction Lino print by hand with oil based inks on Japanese paper in a limited edition
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I gained a BA (Hons) Fine Art in 2002 from the University of Lincolnshire & Humberside. I use clean, simple lines to create bright and bold lino prints. Influenced by nature, much of my work includes animals, plants and wildlife. Having lived in Norfolk since 2009, I draw inspiration from the countryside and coastlines of the county as well as creatures closer to home. I am especially drawn to cats, and have a little black moggy called Caro who is my muse (mews!) and frequently features in my work.
Lino print - 34 x 29 cm (framed) - £70On the edge and reaching into the unknown - water as the cats' nemesis, but the ripples are so alluring.
The Encounter
Lino print - 34 x 29 cm (framed) - £70The game of cat & mouse - this mouse is living on the edge, but what will be the outcome?!
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In my current practice I use different media to create texture, depth and tone. As well as printmaking and painting, I employ techniques such as casting, carving and assembling found objects. This allows me to produce two and three dimensional pieces. I have participated in exhibitions at the Mall Galleries and Curwen Gallery in London and continue to exhibit widely. The John Creasey Museum purchased ‘Dripstone’ which can be found on I was awarded a prize from Société Académique d’Argentan, France for printmaking. I studied art at Portsmouth polytechnic, Central St Martins and The London College of printing.
Collagraph with chine colle - unique print
Rock surface
collagraph - unique print
Landscape elements 3
Drypoint edition of 3
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Alison Bernal’s work is concerned with the formal elements of shape, tone and colour using architectural source material. She uses a number of techniques to explore the tension between the two-dimensional form of printmaking and her three-dimensional imagery. This line of inquiry began with an investigation of Piranesi’s Carceri prints and developed to use the architectural elements of modern buildings.The work on display explores colour as well as tone using opaque layers of Japanese papers, each printed surface altering the one beneath.
Screens 1
Relief print 73 x 48 cmPrinted in two layers on Zerkal and Bib Tengujo£375
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Drawing and sketching is the basis of my practice. As a devotee of life-drawing, not only is the human form central to my work but also how the unconscious mind reacts - particularly when responding to the challenge of creating pieces for the 'On the Edge' theme.
Helen_Breach_Vertigo_30 x 21cm_etched_monotype
When the fear is real and the lines of fall are quietly etched in the imagination
Helen_Breach_Too Close_30 x 21cm_etched_montype
Trace lines in the dark, shooting and exploding, too close for comfort
Helen_Breach_Thought_Escaping_20 x 15cm_linocut
A difficult time with decisions to be made but confusing thoughts fill the air with indecision.
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My print practice explores diverse natural landscapes and their atmospheres, configurations, and changing forms. I have made work within, and in relation to deserts and other extreme conditions such as storm-stressed plains and fields, and am currently developing landscapes and seascapes in which the erratic climate and coastline of North Norfolk plays a central role. My concern is not only with the look of a particular place, but with the marks, lines, colours and composition of the individual work. I have exhibited widely both in the UK and abroad, and I am a member of the artist group Land2.
Storm 1
This is an artwork book exploring the narrative sequence of the storm. Its concertina like form and structure unfolds a sequence of images. There are twelve unique dry point prints (10x14.8cm each) making up the books. The work is on the edge of one state of weather going into other. There is a tension, a build up of storm, chaos and then back to calm.
Storm 2
The 2nd book’s elongated form is a wall piece, its chain of pages unfolding like a Jacob’s Ladder -such extensionality had is parallel in the physical disposition of the storm brewing suggesting that the way to engage with the work involves a conscious delving down, that doesn’t quite align with the narrative disposition of the conventional, bound book.
Just added a 2nd image of the book
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I am cataloguing the UK red list of bird species, using mezzotint printmaking. I chose to work in mezzotint for this long term project because the time required to scrape and burnish each piece enables me to really understand the bird in question. Working in a range of dark tones, the true colour of the bird is absent, archived as if from an old book, perhaps from a time when the population of these particular birds was of no concern.I have completed 22 out of 70 so far.
The red list series- merlin
Mezzotint print. Hand pulled. Limited edition. 15 x 20 cms
The red list series- woodcock
Mezzotint print. Hand pulled. Limited edition. 30 x 24 cms
Isle of Skye
A tiny landscape of the Isle of Skye. Mezzotint print. Hand pulled 10 cms x 6 cms
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Chine collé & intaglio print on fabriano, wood and aluminium 49.2 x 36.7 x 2.8cm
Chine collé & intaglio print on fabriano, wood and aluminium 49.2 x 36.7 x 2.8cm
Chine collé & intaglio print on fabriano, wood and aluminium 49.2 x 36.7 x 2.8cm
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My practise explores the themes of space and time, using layering and repetition. I am interested in what it means to inhabit a space and look at my everyday encounters for inspiration.
Surface tension 1
Screenprint, A3, 29.7cm x 42cm
Surface tension 2
Screenprint, A3, 29.7cm x 42cm
Dry-point print, 50 x 70.5cm
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In these dry point etchings, I was exploring ‘things Japanese’…particularly some of the old master block printers. A couple of these etchings were inspired them, with a modern twist.
A small drypoint etching attempting to use a single line as much as possible.
Dancing Babies
A drypoint etching inspired by a work by Kiyohiro.
A drypoint etching inspired ( with a contemporary twist) by a work by Sharaku.
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I make bold and colourful linocut prints inspired by nature and all things Norfolk. My prints often reflect my off-beat sense of humour and hopefully bring a smile to anyone looking at them.
The Life & Times of the Bowhead Whale (268 Years)
A multi-block linoprint of the longest living mammal, the bowhead whale, which can live for 268 years. This whale is surrounded by things it may have come across in its life. Image size 41x31cm, paper size 51x38.5cm. £150 unframed.
We Are Stardust
A two block linoprint of two people and their dog orbiting planets on the edge of space. The title refers to the fact that nearly all the elements in the human body were made in a star. Image size 20x20cm, paper size 30x30cm. £50 unframed.
Black Shuck Arrives on the Norfolk Shore
A multi-block linocut of the legendary Black Shuck of East Anglian folklore arriving on the Norfolk Shore from a Viking ship. Image size 24x31cm, paper size 38x54cm. £65 unframed.
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My work is influenced by a life-long love of nature and being out in the natural world, concern about Climate Change and its impact on the natural world and a wish to explore our (human) place as part of nature and in interaction with nature. I am fascinated by the beauty, reality, variety, emotional power and strangeness of natural forms and try to convey some of this in my work.
Feathers: 103
Collagraph print. Natural materials, acrylic ink on paper. 22.4 x14.9 cm. 2023
Blue Edge
Collagraph print. Natural and man-made materials. Oil-based ink on paper. 5 x 5cm. 2022.
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Closer to the Edge
Sidestrand Church in Lino-cut, using oil-based inks
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My Bank account name is Susan O'Brien.
Wave Breaking on Beach
Lino print.
Gate and Grass
Lino print
Stream at edge of wood
Lino print
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I am an artist and printmaker with a BA(hons) in Graphic Arts & Design. I primarily create modern and abstract lino prints. My most recent series of work has been inspired by the natural and manmade landforms found along the coastline of East Anglia to create unique conceptual and abstract maps. My prints are handmade and showcase the diversity of the shapes found along the coast, from islands and inlets to salt marshes and bays.
Orford Ness
This limited edition lino print is a unique interpretation of the Suffolk coastline at Orford Ness, depicted through a conceptual map that was inspired by the distinctive coexistence of the natural environment and human activity in the area. Despite being an internationally important site for nature conservation, Orford Ness also has a rich military history, giving it a unique and mystical landscape. The shape of a starling murmuration pays homage to the area's reputation as an important site for bird watching. This print is a limited edition of 20 and is A3 in size. (54 x 42cm framed).
Scolt Head Island
This limited edition reduction lino print is an artistic interpretation of the rugged coastline of Scolt Head Island, situated off the north coast of Norfolk. The island's unique landscape, characterised by its dunes, salt marshes, and beaches, has been shaped by the ebb and flow of the tides and the forces of nature over time. Through my creative process, I have used conceptual mapping to highlight the shapes and forms of the land captured in a particular moment in time. This print is a limited edition of 5 prints, each one individually handmade and unique. It is A4 in size. (39 x 30.5cm framed).
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My work is inspired by coastal locations and the landscape of East Anglia. Light and colour are the main focus of each linocut.
Cloud Reflection
This linocut was inspired by a day at Cromer and is about light on water with a strong reflection of the sky. It was a truly bright Cromer day.
Along the Moorings
My main aim in this coastal image was to capture the strong sunlight againsta group of boats at their moorings.
Pheasant Circle
This linocut is inspired by seeing pheasants in Norfolk woodland towards the end of the day. I paticularly wanted to play with colour and light in the image.
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Haychley Webb is a professional linocut printmaker printing under the name Stellabox Designs. She began self-teaching linocut printmaking in 2017 and quickly became enthralled by the medium. She became a professional printmaker in early 2021 and regularly teaches linocut at all levels around Norfolk. Her art practice like to explores the way animals interact with humans and human landscapes. She is vegan and hopes to use her practice to show others the individual personalities of animals and their value. Her work often features her natural surroundings in Norfolk and the rich history of Norwich through its stonework and architecture.
'Horsey' is an original limited edition linocut print created using the multiblock method. It is inspired by the family tradition of visiting the North Norfolk coast each year to marvel at the seals. It is A4 in size and will be framed in an A3 frame.
Strawberries in June
'Strawberries in June' is an original limited edition linocut print created using the multiblock method. It is a celebration of growing your own strawberries and that wonderful summertime feeling. It is A4 in size and will be framed in an A3 frame.
Give us one
'Give us one' is an original limited edition linocut print. My stepdaughter is studying animal behaviour at University and feeds monkey nuts to squirrels- they climb right up her leg! It is A4 in size and will be framed in an A3 frame.
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I became a full-time artist in 2018, although I’ve been creating since gaining a BA Fine Art from Central Saint Martins in 1990. I am comfortable exploring a variety of creative media. I use sketching, printing and painting. The common thread throughout my creativeness is my love of drawing. I grew up in the Peak District and have lived in London and New Zealand and now Norwich. All of these experiences feed into my creativity. This results in a balance of work which is often illustrative in nature and work based on the female figure informed by life experiences.
Words Waiting
‘Words Waiting’ is about understanding, analysing, wanting to speak, but feeling vulnerable about expression. On the edge of speech. Linocut Print. 11 x 17 cm Framed in A4 frameEdition of 30
Cromer Pier
I made a little sketch of Cromer pier, and wanted to capture the energy of this in a quirky image. Linocut Print. 18 x 21 cm. Framed in A3 Frame
MercatMermaids for me depict duality of identity, I made this image to play around with this idea combining a cat with a mermaid tail. Linocut Print. 18 x 21 cm. Framed in A4 frame
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I am a printmaker and urban sketcher living in North Norfolk. My work focusses on people going about their everyday lives, taking pleasure in simple things: sitting in a cafe, looking out of a train window, or talking to friends. I try to convey the movement and rhythm of people in motion in my artwork. I am inspired by the beauty of the dancing body form, or swirling limbs on a skateboard. Conversely, the stillness of buildings in urban landscapes also holds a fascination for me, as well as overlooked parts of the rural environment. My printing technique covers reduction and multi-block linoprinting.
Red Shoes
Linoprint on Awagami Masa paperImage size 15cm x 20cmWill be presented in black frame size 30cm x 40cm
Blue Shoes
Linoprint on Awagami Masa paperImage size 15cm x 20cmWill be presented in black frame size 30cm x 40cm
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I'm proud to say that I'm an East London Printmaker. I come from a photographic background and am particularly drawn to figurative work. Etching is my thing. I do split my time between London and Suffolk.
Summer Days
Intaglio Etching on Somerset paper Limited editionPlate size (w) 20 cm x (h) 19.5 cm
A Synchronised Dive
Intaglio Etching on Somerset paper Limited editionPlate size (w)20 cm x (h) 19.50 cm
Water Boys
Intaglio Etching on Somerset paper Limited editionPlate size (w) 14 cm x (h) 14 cm
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This work is essentially about relationships, the good that can shine through the bad and the ugly. We all need human contact and fulfilment that relationship with others can give.
GILL BEDSON The dark and the light
This image is from life drawing and is etched on Lino and printed intaglio method.
GILL BEDSON Time together
Life drawing image, printed from a used chopping board, using cut out masks for the figures.
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I am a printmaker who works with a variety of techniques. I am interested in trying to depict my emotional reactions to the natural world.
Dancing in the Shallows
Collograph original print.Framed size 52 x43 cm, plate size 28 x 21 cm£160.00 framed.
Drifting into Shore
Collograph and solar plate, original printFramed size 52 x 43 cm, plate 28 x 21 cm£160.00 framed
Beneath the Surface
Etching and Aquatint original printFramed size 38 x 38 cm late size 12.5 x 11cm£80.00
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I work with paint, collage, printmaking, and textiles. I also write poems, though don't like to be called a 'poet'. Nor do I consider myself an 'artist', but rather as someone who sometimes makes art, according to time, whim and will.
Woman on the Edge, triptych
My first thought, when I knew the theme of this exhibition, was of Marge Piercy's book 'Woman on the Edge of Time (1976). My thoughts progressed to a sense of how past, present and future converge. The triptych is an image transfer from a collage of my own photos and magazine cut-outs. 34cm x 17cm unframed.
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Making a colour lithograph on a large stone is a slow and labour intensive process. As the layers build up, I am on the edge of killing the entire edition if something does'nt work. Unlike painting, there is no second chance.
Stone lithograph 40x50 cm.
Magyar Mannekin
stone lithograph 112x76 cm
Heart Attack
Stone lithograph 112x76 cm
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I am a painter and printmaker. Recently my work has been about the seaside - what people do there, the sea itself, and the very particular seaside plants, some of them large and impressive, robustly growing on the edge, in their unpromising bed of sand or shingle.
Horned Poppy at Snettisham
Linocut edition of 50 image size 46 x 66 cm, framed size 67 x 85 cmprinted from 6 separate blocks on Rives paperprice framed £530
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Artists StatementLiz Hughes is a printmaker who makes open and limited-edition linocut prints which are designed, and hand printed in Norwich, UK, under the mantle of The Pepper Press.The inspiration for her work comes from the natural world, plants, animals, insects and curiosities. She is interested in colour and form and the juxtaposition of shapes and pattern. Her images often involve a lot of detail, which can be an interesting approach in relief printmaking.Liz finds planning the final image can change considerably from its original point of conception and working in the ‘negative’ throws in its own challenges with the print reveal always creating something she hasn’t designed or conceived. This unexpected element is something she embraces with her image making.
Can you hear it?
Original single colour linocut print of snails and slugs on a ball in grass. Titled ‘Can you hear it?’This is a limited edition print of 50, signed by the artist on Japanese Hosho printing paper, using Caligo safe wash printing ink.
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Luminita Prints is the brand name of Kerrie Suteu, a wildlife artist based in Braunston, Northamptonshire. Born in the industrial heart of the Midlands, she is inspired by the wide-open skies, intimate woodlands and varied meadows in this country. She shares her home with the woodpeckers, badgers and foxes that visit from the neighbouring pocket park, in Braunston. Luminita (lu-min-it-sa) comes from the Romanian for "little light". It’s an appropriate name for a short artist, making small prints about the little, everyday joys that amuse us who happened to marry a Romanian.
Rutland Osprey
Single colour linocut print, actual print size is 8 x 10 inches, framed size 38cm x 38cmOspreys have been on the edge of extinction for some time, but thanks to conservation efforts they are now slowly recovering
Turtle Dove
Two colour linocut print, actual print size is 8 x 10 inches, framed size 38cm x 38cmTurtle Doves are on the edge of extinction, with their population decreasing by 97%.
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The Rat
Mezzotint10 x 13.5 in 21 x 28 cmEd 15Paper : Old Holland simily japon 225 g/m²
The Bat
Mezzotint10 x 13.5 in 21 x 28 cmEd 10Paper : Old Holland simily japon 225 g/m²
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Inspired to return to art by Hockney’s pioneering and boisterous pushing at the boundaries of drawing and painting on the mighty iPad, I think I’ve now found a tipping point where tricksy computing meets and makes way for traditional handmade silkscreen printmaking; the direction of the journey being towards large scale handmade serigraphs (screenprints)
Seaside Gallopers Jim Lad & Brian KEN_HURST_Jim_Lad_&_Brian
7-colour limited edition handmade screenprint (6/10) KEN_HURST_Jim_Lad_&_Brian unmounted on Somerset Velvet mould-made paper (approx 60 x 70cm)
Nice to see you again KEN_HURST_Nice_To_See_You_Again
5-colour limited edition handmade screenprint (2/10) KEN_HURST_Nice_To_See_You_Again Ready to frame on Somerset Velvet mould-made paper (approx 52 x 67cm)
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After a degree in traditional printmaking, my MA led to combining this with watercolour and later with collage, takuhon and gel prints, producing unique state prints and variation editions.My interest in landscape and liminality is reflected in these two collaged gel prints of the river’s edge, the strand lines, composed of all the high tide leaves behind.
Strandline I
Collaged gel print (unique state)74 x 59cm
Strandline II
Collaged gel print (unique state)74 x 59cm
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Venus (Hypnagogia)
Monoprint,oil & water Hypnagogia is the transitional state of conciousness at the edge of wakefulness and sleep.During this state it is commen to experience hallucinations and strange imagery
Fox Frippe (Hypnagogia)
Monoprint,oil and water
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Alan MacKenzie is a screenprinter based in North London, interested in creating compositions that allow for experimentations in colour. Sometimes his own woodcuts are used as an initial basis for the subsequent screenprints.
The temple at Karnak, at the edge of the Egyptian Eastern Desert.Screenprint, edition of 5, 2022Framed size : 45cm x 60cm
Signals from Space
In 1961 Yuri Gagarin was the first human to go beyond the edge of the atmosphere into outer space.Screenprint, variable edition of 8, 2023Framed size : 40cm x 55cm
All Along the Watchtower
This image hints at how extensive, contemporary surveillance is shifting our society towards the edge of authoritarianism.Screenprint, edition of 3, 2022Framed size : 40cm x 55cm[Note to selectors - photo is of an Artists Proof, unable to get an image of the framed version, which is currently hanging elsewhere]
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On the edge of the new. Sometimes scary, sometimes fun. A rush either way.Lino print on A3 archive paper with yellow. Set of 3.
On the Edge 1
On the edge of the new. Sometimes scary, sometimes fun. A rush either way.Lino print on A3 archive paper with yellow. Set of 1/3.
On the Edge 2
On the edge of the new. Sometimes scary, sometimes fun. A rush either way.Lino print on A3 archive paper with yellow. Set of 2/3.
On the Edge 3
On the edge of the new. Sometimes scary, sometimes fun. A rush either way.Lino print on A3 archive paper with yellow. Set of 3/3.
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I am an artist in Surrey, who expresses myself predominantly through medium of print, film, illustration. Play and fun is at the heart of my 'creative lifestyle' I live. My art studio is a double decker London Bus, which gives me much joy.
Chinese_mitten_crab_photocopy_collage_ A4_ paper
The Chinese Mitten Crab accidentally became an invasive species, in the Thames River. It travelled across from Asia in the balast of cargo ships. This crab was living on "the edge" for many years, as the environment agency discussed how they could reduce its dangerous numbers.
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At The Edge Of The World
At The Edge Of The World is a linocut print from an original design, carved and printed by hand on 190gsm paper.The image is printed on 29.7cm X 21cm sized paper.
Drop In
Drop In is a linocut print from an original design, carved and printed by hand on 190gsm paper.The image is printed on 29.7cm X 21cm sized paper.
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Rachel Appleby is an Artist and Printmaker based near Nottingham and originally from North Norfolk. Her work is almost always influenced by her home county and its coastal locations which are an endless source of inspiration. Themes of home, memories, places and the natural landscape are represented in her signature, stylised way of working.
Shoreline Oystercatcher
This is a limited edition lino print capturing an Oystercatcher looking out to sea, perched on some pebbles on the edge of the shoreline. It was created using the reduction print method and is a small edition of 15. The printed area measures 30 x 30cm.
Safe Haven
This is a stylised lino print inspired by a trip to the fishing village of Clovelly on the Devon coast last Summer. The print captures a moored boat in the safety of the harbour. It is a 4 layer print with hand painted coral coloured detail and is a limited edition of only 10. The printed area measures 40 x 30cm.
Poppyland is an original lino print capturing the poppies on the cliffs at Cromer and is inspired by Clement Scott's poem from 'The Garden of Sleep' which spoke of the old Sidestrand church tower which toppled into the sea in 1916. This is an edition of 20 with the printed area measuring 12 x 12cm.
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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 please visit sections about and bio.
Don't push me cause I am close to the edge
My love for typography combined with my love for early 80s rap music.Edition is 50 prints only, comes in fluorescent pink, fluorescent orange, pitch black. Size is 500mm x 650mm.
Caesarion is inspired on a Dutch novel Caesarion by Dutch writer Tommy Wieringa. A big part of Caesarion's story takes place in a clifftop house on the edge of a rapid decaying East Anglian clifftop. The prominent C, balancing on the rigid square, represents the main ingredients of the story which 'coincidentally' all start with a C. Such as CANCER, CLEOPATRA, CALIFORNIA, CAESAR and CLIFFTOP. The print technique of which the typical East Anglian coastal sunset sky is printed with is called a 'blend', in which you print 2 colours in 1 squeegee print-move, and blend perfectly in an un-directed randomly built up smooth gradient. AKA 'iris-drück'. Edition is 24 prints only, size 230mm x 600mm.
Norfolkshine is inspired by and based on the old identity of the Norfolkline cargo and ferry services between Great Yarmouth and the Netherlands. A very recognisable image in our part of Europe, famous for their two tones of blue and the white strip and star, on trucks, feries and freight trains. The identity has meanwhile evaporated from our North Sea horizons, Norfolkline doesn't exist anymore since 2010. To me the print celebrates Norfolk, but also it has a conection with Holland. It sailed between Great Yarmouth (the county I emigrated to) and Scheveningen (the county I was born in) in the Netherlands. Norfolkline was founded by the Dutch, and it was one of the first direct connections between Europe and England (an early EU adapter) brought trade and connected a lot of Brits with Dutch and Europeans and vice versa. I always love discovering the traces of the Dutch here in Norfolk (first ever printed Norwich book, canary of a football club, stranger's economies, dutch gables, etc) and Norfolkshine to me celebrates these Norfolk-Dutch ties to me. Edition of 35. Size 230mm x 500mm.
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Lisa Takahashi's prints are visual interpretations of the ordinary, rendered in joyful shapes, colours and textures.
Coastal Retreat
Multi block linocut, 11 x 16 cm