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IM P R E S S ’ 0 9

Fo rewa r d by No rman A kroyd R A RE Tr icia Torr ingt on Cha i r G P C

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

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

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

Tricia Henry

Norman Ackroyd 4 Malcolm Franklin 31 Tessa Pearson 56
CO N T E N T S Curwen Std 5 Simon Burder 32 Rose Seber 56
Enitharmon 6 Sophie Dickens 33 Gerry Baptist 57
Off Centre Gallery 7 Oliver Bevan 33 Susanna Harris Hughes 58
Masako Seo 7 The Curwen Std 34 Melanie Gairns 59
Wojciech Pakowski 7 Noel Myles 35 Julie Hoyle 59
Yukari Yoshimoto 7 Colin Wilkin 35 Double Elephant 60
GPC 10 Mark Hearld 36 Simon Ripley 61
Tricia Torrington 11 John Bellany 37 Sally Hebeler 62
Susan Drennen 12 Paul Hogarth 37 Robin Duttson 63
Andy Lovell 13 John Howard Print Std’s 38 Emma Molony 64
Christine Felce 14 John Howard 39 Lynn Bailey 65
Neil Bousfield 15 Jason Lilley 40 Jeremy Speck 66
Geoff Smith 16 Becky Haughton 40 Gallery Pangolin 67
Lucy Orchard 17 Sue Corke 41 Abigail Fallis 68
John Huntbach 18 Sally Spens 41 Terence Coventry 69
Linda Meakin 19 Spike Island 42 Lynn Chadwick 70

Artichoke Std’s 20 Ros Ford 43 William Tucker 71

Morgan Doyle 21 Chitra Merchant 44 Peter Randall-Page 72
Paul Catherall 21 Gail Mason 45 Anthony Abrahams 73
Colin Gale 22 Angela Holland 46 GPC members
Barry Goodman 22 Frea Buckler 47 Davina Wynne-Jones 75
Melvyn Petterson 23 Lienster Print Std 48 Denise Mason 76
Megan Fishpool 23 Dedre Shanley 49 Gill Salway 76
Birmingham Prntmkrs 24 Katherine Smits. 49 George Richards 77
Sharon Baker 25 Amelia Peart 50 Marta Lombard 77
Phil Wilkinson 25 Jean Dillon 50 Jane Henriques 78
Victoria Linehan 26 Rebecca Humfray 51 Rosanna Mahony 79
Carol Annand 26 Gay O’neill 51 Fran Christen 80
Soledad Pinto 27 Leicester Print Wkshp 52 Carlos Ordonez 81
Celia Nancarrow 27 Gemma Wright 53 Tuula Joutsen 82
Oaks Editions 28 Henrietta Corbett 53 Maxine Relton 83
Christopher Cockburn 29 Nichola Hingley 54
Kate Wilson 30 Jilly Shore 54
Nicolette Carter 30 Ochre Print Std 55

Norman Ackroyd
Norman Ackroyd studied at Leeds College
of Art and The Royal College of Art, London.
He was elected a Royal Academician in
1988 and was awarded a CBE for services
to Engraving and printing in 2007. His work
has be taken for selected public collections
including museums and galleries in Europe,
the US, Canada (including the British
Museum – London, MOMA (New York)
and the National Galleries of Scotland,
South Africa, Norway and Canada, in the
Rijksmuseum Amsterdam and in the Royal
Collection at Windsor Castle.

Norman has been interested in working en

plein air for the past fifty years, creating
etchings, drawings and paintings. He has
covered most of the British Isles, working
in the open air to create vibrant and
atmospheric prints.

‘The Three Sisters Dingle’, etching

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


‘Printing with Spirit’, by Mark Hearld,
ed 50, size 73 x 93.5cm, unframed £ 350.00

The Studio was set up in 1958 to ensuring that the quality of the
provide a facility for artists to work work will last.
collaboratively with our experienced Lithography is very flexible and
printers to create their original gives a wide range of mark
‘The Unicorn Artist’, by Paula Rego,
prints. Prior to this it was very making - ranging from fine line to
ed 50, size 85 x 62cm, unframed £1800.00
uncommon for British artists to solid blocks of colour. Because
practice collaborative printmaking, the layer of ink is relatively thin,
as if they wished to do so, they it is also possible to make use of
mainly had to go abroad. The range overlapping colours. Artists find it
of artists that have produced work simple to work using lithography as
with the studio over the years is the means of creating marks uses
like a roll call of Modern British brushes, pastel, charcoal, stencils
Contemporary Art. etc.
We offers facilities for all forms It is possible to arrange to visit the
of lithography and have a world studio. Groups are also welcome
renowned reputation for producing and encouraged to have go if
work of the highest standard: desired - leaving with their own
the materials used are archival, original print.

‘Kiss at Tower Bridge’, by Antony Micallef,

t 01223 89354 4 ed 50, size 73 x 99cm, unframed £2500.00
email jenny @

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

Curwen Studio 5

part of ‘Collaborations: Three In One’ exhibition

at The Museum in the Park, Stroud. ‘The Artists’ Book Collection’


contemporar y art on paper

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

Masako Seo Wojciech Pakowski Yukari Yoshimoto

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

Off Centre Galery 7

N ATION AL P RIN T EX HIBITION at Subscription Rooms, Stroud.

For anyone wanting to be directly involved in the creative process of printmaking, setting up an effective

workshop for personal use is a daunting proposition. The use of elaborate, often heavy equipment, the complex
health and safety issues, the sizeable dedicated space required and the capital outlay all militate against
individual enterprise.
Communal print workshops offering open access to fee-paying artist members are the obvious solution. The
last 30 years in particular have seen an astonishing proliferation of shared and open workshops both here and
abroad. Often revenue- or capital-funded, many also provide additional facilities to support running costs such as
courses, demonstrations, talks, exhibitions, framing and contract editioning.
These imaginative and enterprising ventures have generated a period of unprecedented creativity, interest and innovation in
printmaking as a primary expressive medium. Above all, prints in all their traditional and contemporary variety are proving to be highly
desirable and affordable purchases in the eyes of the buying public and serious collectors alike.
Basing a national exhibition on the best output of these open print studios is the brainchild of Gloucestershire Printmaking Co-
operative’s founder and director, Sue Drennen. Invited to participate with their own selection of prints, the studios have submitted a
wonderful diversity of superb works for sale.
It was always intended to mount an ambitious programme of workshops, talks, demonstrations and other shows and events around
this core exhibition and so IMPRESS’09 was born, a testimony to the vision, energy and determination of Sue and her very able team.
In a year in which printmaking is being widely celebrated across the country through other major events and exhibitions, I have no
doubt that IMPRESS’09 will make its mark. I believe it will prove to be a memorable landmark event, welcomed and enjoyed by all and
eagerly anticipated as a returning fixture in the country’s future art calendar.

Maxine Relton

Pan g o l i n A rt ist s a r e s h owing at Gallery Pangolin, Thrupp.

Off Centre Galery 9


The GPC was set up in 2005 to etching, plate, lithography, screen events, exhibitions, talks and
provide much-needed specialist printing, relief printing and photo demonstrations for the general
fine art printmaking facilities for mechanical processes. public and specific educational
artists in the Gloucestershire area. Since 2005, groups (including widening our
The first studio was opened at The GPC has gone from strength remit to the young, the disabled Unit 16c, Griffin Mill
London Rd, Thrupp, Stroud,
Griffin Mill in Thrupp, near Stroud in to strength meeting our outlined and other vulnerable groups)
Gloucestershire, Gl5 2AZ
September. objectives of: - forming links with other artists t 01453 885100

There is now a second studio - providing a centre of excellence nationally and internationally. email info @
on the site. Together these two for Printmakers
studios provide facilities for - offering courses, educational


T ricia Torrin gton
Tricia works in many media including
etching, relief print, monoprint, phot-
mechanical methods and alternative
photographic processes. Much of her
work relates to aspects of the human body,
including metaphorical, metaphysical,
emotional and the way the body interacts
and relates to the outside world. Tricia also
uses poetry and text to illustrate her work.

This image is taken from ‘Amaurosis Fugax’

I-XI : a series based on visual irregularities
including temporary blindness (amaurosis
fugax), colour alterations, Idiosyncratic light
refractions, double vision and anomalous
after-images. In this piece carborundum
provided a depth of tone and a sculptural
quality to present the synaesthesia of
replacement, seeing colour where there is
dark, sensing more and feeling differently
when unable to see clearly. The work
culminated in an artist’s book which
juxtaposes short haikuesque poems with

t 01242 524157
email triciahenry@

GPC 11
Susan Drennen
Born in 1960, Susan Drennen studied
genetics at Cardiff University retraining
as an artist in the 90’s studying a BA in
fine art printmaking at the University of
Gloucestershire followed by an MA in Fine
Art. Having won the Curwen Print Prize in
2000 she worked under Stanley Jones at
the Curwen Studio. This fired her passion
for stone lithography. She set up the
Gloucestershire Printmaking Co-operative in
2005 providing studio facilities for etching,
screen print, relief print and lithography.

The essence of her work can be located

in the experiential aspects of the creative
process. Drennen’s work has a Zen
like quality illuminating the sacred and
mysterious in the everyday physical world.

Susan lives and works in Gloucestershire,

and exhibits nationally and internationally.

t 01453 873283


Andy Lovell
‘Drawing and painting are the foundation of
my work imprinting a memory of place and
shape that inevitably informs the final image.
I am drawn to the immediacy of the
screenprinting and monoprinting processes
which both allow and encourage free
interpretation of the initial sketches.
Printmaking is a physical process that is
exacting and exhilarating in equal measure.
The thrill of lifting paper from an inked up
plate or laying down a large area of colour on
a pristine piece of paper never fades.’

‘Ashdown Forest’, silkscreen, ed 40,

size framed 102 x 74cm, price unframed £ 330

t 01452 813 149

m 07976 279 048
email andy@

GPC 13
Christine Felce
Christine Felce BA Fine Art Printmaking,
RCA Film School
Christine combines her printed images
into her work as a filmmaker.
She loves experimenting with the
boundaries of printmaking. The
inspiration for many of her prints comes
from issues that she feels strongly about.
‘A419 Cirencester to Cricklade’ is one
in a series of eight entitled ‘Road Kill’.
These were made to highlight the loss
of life on a dangerous road by focusing
on the animals that have died and is part
of a film entitled ‘Road Kill’. Christine’s
dream is to see a cycle track along the
A419 road.
‘On The Inside’ is a series of 5 images
that are semi-transparent and are to be
viewed from both sides.
The series uses photographs from the
inside of a prison together with layers
of etching and chine-collé to create a
portrait of life on the inside.
‘ No Winners’ is an ongoing series about
drug abuse that has helped her explore
and understand modern culture.
Christine is a great admirer of Satish
Kumar. One of Satish’s philosophies for
life is that all objects should be Beautiful,
Useful and Durable, which is a great
guide line for making anything.

‘ 419 Cirencester to Cricklade’ Road Kill

series, 78 x 58cm

t 01453 884775
email soundadvice@


Ne il B ousf ie ld
The artist’s personal practice is concerned
with narrative and visual story telling.
Working exclusively within the medium of
relief engraving, the artist has produced
his first major work “The Cycle”, a novel in
189 engravings which is due for commercial
publication by Manic D Press in March 2009,
under the title of “Walking Shadows”.
The artist is now working on his second
visual novel whilst seeking appropriate

‘The Cycle’, vinyl relief engravings

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

t 01453 821546

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

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

unframed £170.00

t 01367 241032


L ucy O rch a rd
‘Eliza Rowles was my great, great, great,
great grandmother.
Born in 1781, Eliza was the only daughter in a
family of Mariners from Gloucestershire.
At the age of 21 she stowed away on her
father’s ship. The boat was involved in a
terrible storm off Kenya and Eliza was lost
overboard, presumed dead.
Eliza did in fact survive the storm, but it
is only recently that the true extent of her
efforts in Africa has been recognised.
Lost in the wilderness for several years, Eliza
encountered a herd of zebras, many of whom
were sick. After earning the trust of the
animals, Eliza nurtured them back to health
by feeding them on Red Disa, a native plant
of Africa which is now known to contain
phytochemicals with significant antibiotic
and healing properties.
However, whilst the Grevy Zebras are
unfortunately now rare and considered an
endangered species, it is widely accepted
that the work Eliza did with the Grevy’s
saved them from extinction.
Today a plaque is mounted at Saul Junction
in Gloucestershire in recognition of the
Rowles’ contribution to national and
international Maritime history.’
Lucy Orchard lives and works in

‘ The Chronicles of Eliza Rowles’
email lucyorchard @

GPC 17
John Huntbach GPC
Under Milk Wood: Night, is the first of a
series of prints that I will make evolving out
of Dylan Thomas’ play for voices.
The prints are not intended to be a visual
description of any particular part of the
poet’s work, but rather a reflection of some
of the varying layers and meanings revealed
in its reading.
The spheres of gold are a representation of
the references woven into parts of the text
that refer to the Music of the Spheres and to
the cosmic Dance of the World.

Under Milk Wood: Night


L in da Mea kin G P C

Linda was born in Bath, UK, and currently

lives and works in the Cotswolds.
Her work is inspired by abstracting line
from familiar mapping and architectural
references superimposing them one on
top of the other, incorporating aspects of
both modern and historical. In 2005 she
gained a BA (Hons) in Drawing and Applied
Arts and has just recently graduated with
an MA in Multidisciplinary Printmaking at
The University of the West of England.Her
work has been exhibited both nationally and
internationally and has many works in private
collections. She was awarded Jerwood
Drawing Prize in 2005.

‘Ultra Whisper Exchange’, screen print, size 70 x


t 01453 544508

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

in the art world. Our reputation is our studio gallery is a fabulous SW9 8RR
t 0207 924 0600
and commitment to presenting and opportunity to experience finding
email artichoketrading @
exhibiting the best is nationally and that special piece of art.


Morgan Doyle
Morgan Doyle is an established Irish printmaker, born in Cork, and situated in London.
His prints are in both public and private collection in the UK. He exhibits his prints
frequently, venues include Frieze Art Fair, London Art Fair, and and recently The Irish
Museum of Modern Art. He lectures in Printmaking at the University of Limerick and is a
recent member of the Royal Society of Painter Printmakers.

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

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

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

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

‘Large Blue Robot’

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

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

Colin Gale RE
Colin Gale RE is a director and a founder member ofArtichoke Printmaking - one of
London’s leading printmaking studios. Colin’s expertise as a printmaker is widely
recognised and he has worked with many of the world’s best artists, as well as creating his
own prints.
He is the author of several books on printmaking - Etching and
Photopolymer Intaglio Techniques, Practical Printmaking and
the co-author of The Instant Printmaker.
He lectures in printmaking in colleges, schools and printmaking studios throughout the UK.


Melvyn Petterson RE, NEAC
Melvyn Petterson RE, NEAC was born in Cleethorpes and studied at Grimsby School of Art
and Camberwell School of Art and Crafts. His works has been widely exhibited in the UK
and overseas. He is a full member of the Royal Society of Painter-Printmakers and has had
several books on drawing published. ‘It might only be black, but its actually every colour
you can imagine.’ MLP
He can be contacted on 020 7924 0600 or email him at mpetterson2@

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

Mega n Fish p ool RE

Megan Fishpool works at Artichoke Printmaking Studio in South London. She exhibits her
own prints in the UK and her work is in private collections including the USA, and Korea.
She contributes to several publications including Printmaking Today, Art Business Today,
Galleries Magazine and Art Review. Megan also works as a visiting lecturer at a number
of colleges and as an invited artist to printmaking seminars and she teaches a variety of
printmaking classes for both children an adults. She is a long-standing Co-ordinator for
Originals, the annual Contemporary Printmaking Exhibition at the FBA Mall Galleries, London. Originally
born in the USA, Megan completed her MA in Printmaking at Chelsea College of Art, London.

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

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

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


P h il W ilkin son
One of my ongoing themes is the exploration
of the rich local cityscape with its range
of architecture which act as man made
geological layers as generations build over,
incorporate or replace buildings. This process
arranges materials, forms and even values
for the viewer. As a member of Birmingham
Printmakers with our workshop in Digbeth l am
familiar with the local environment from which
‘Changing Birmingham’ was a product. I was
attracted to this site, the process of demolition
and the newly emerging skyline of Birmingham
ringing the hollow skeletal shells

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

Sharon Baker
‘Wedgwood V’, collage of mono prints, size: 54 x 26 cm, framed £ 325
Sharon uses prints to create collages and as
elements in mixed media compositions. Her
work draws on imagery from graphic art and
popular culture: typefaces, adverts, posters,
photography and films. Visual gestures are
shifted from their original context to invite
new meanings. A signature device is the use
of tessellation: repeating images for increased
visual impact as well as to create rhythm and
balance through the motifs selected and the
colours used. ‘Wedgwood V’ is part of a series
inspired by the colours of ‘Wedgwood’ Blue
Jasper Stoneware combined with an image
from a film.

t 0121 444 6372 m 07919 253 624

email: info

B i r m i n gham P r i n tmak e r s 25
Victoria Linehan
‘On the Hill’, photoetching, edition: 10, unframed £195

‘Found in Woodstock....’, Silk Screen, edition: 7

C a rol Ann a n d ARCA

Living and working in Warwickshire.
‘Found in Woodstock....’ is a silk screen print taken from a found scrap. The original was a
small cassette tape label which I found in Woodstock Rd, Moseley, Birmingham. It had
been walked over, cycled over and rained upon. The imperfections I have retained as
they add character to the print. I changed the colours completely and added a goldish
background to give it an icon like feel.

email c.annand @


S ole da d P into
Chilean artist (1978) Pinto’s practice explores the space of transience inhabited by subjects, objects, and territories that are experimenting processes of translation: a state of permanent transformation
that confronts them with their potential dissolution and disappearance. “On the Edge” represents a building in process of demolition where the disintegration of its exterior walls confers it the ambiguous
character of being “inside” and “outside” at the same time. The scene is one that only points out the precarious possibility of an improbable recovery or its definitive disappearance.

‘On the Edge’, 2008

silkscreen on paper and felt
47 x 104 cm.

Celia Na n ca rrow ARBSA

The mystical island of Anglesey has been my inspiration for many years. Its ephemeral light qualities and ever changing moods fascinate me and bring me to return to it time and time again.
I work from my sketch books, to search out the essence of my subjects. The challenge of reflecting the extreme tonal values inherent in the Welsh landscape can be met by the flexibility of
the collagraph. My work can be abstract, figurative or have the simplicity of a Japanese print. Having graduated in Fine Art in Birmingham, I now specialise in collagraphs, The infinite variety
of materials that can be used in creating a
collagraph make this type of printmaking
particularly exciting, and using both methods
of inking up (intaglio and relief) creates a
unique image. I regularly exhibit throughout the
region and was First Prize Winner of a national
printmaking exhibition held at the RBSA, two
years ago. I am at present Chair of Birmingham
Printmakers and have been involved with its
regeneration as a resource facility. We hold
regular printmaking workshops and exhibitions
throughout the country. I am very keen to raise
the profile of original printmaking in general.

B i r m i n gham P r i n tmak e r s 27

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

He also welcomes enquiries from stimulating context for his own work, also a smaller tabletop intaglio press London SW19 1BS
t 020 8542 4541
artists who wish to produce editions offering ever new ways of seeing the and a galley proof press, used for lino
of their own work, with or without familiar processes. printing.


C h ristop h e r C ockburn
Born 1952, Christopher’s formative years
spent in the North of England, where, as
well as enjoying art he developed a life-long
love of natural history. He studied Zoology
at Imperial College, London, later retraining
as a biochemist, working in medical research
for 15 years in London, North Carolina and

In mid-life Christopher reinvented himself

as an artist: all his work reflects his love of
nature, and he has been fortunate enough to
visit many remote places, observing at first
hand much of his subject matter.

His colourful linocuts show a little of how

each creature relates to its environment.

150 zoological portraits (in editions of about

26 ) have been completed (more under way),
showing something of the beauty, range and
diversity of the animal kingdom. All measure
12”x12”, and are printed in 7 – 12 colours,
usually by reduction from a single lino block.

Chris’s work is highly individual due to his

delicate combination of cutting and caustic
soda etching. He exhibits regularly, most
recently at The Barbican Library, Barbican
Centre, London.

t 020 8543 4623.

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

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

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


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



M a lcolm Fra n klin
I have been working at Oaks Editions
Lithography Studio with Simon Burder since
2002 producing lithographs on stone. Until then
I had worked mainly as a sculptor: after studying
Fine Art at the University of Wolverhampton,
I took a Master’s degree in Site-specific
Sculpture at Wimbledon School of Art.

I have mainly exhibited in London, but more

recently my work has been seen at other
venues throughout the United Kingdom. In
2007 I took part in Stone.Plate.Grease.Water,
an international lithographic exhibition. Two
recent prints were shown in Sophia, Bulgaria,
at the 7th Lessedra World Art Print Annual
and another two are being shown at the 1st
International Chinese Print Biennial during 2009.

One of the attractions of lithography is the

direct nature of the process—it reminds me
of carving. The way the stone immediately
responds to additive and reductive action
gives an extensive range of possibilities for
mark-making. I often work by subtraction,
another affinity with sculptural practice:
after an initial layering of tusche washes,
asphaltum, crayon, or Lo-shu wash, I take
a print. Depending on the result and on
whether or not I want to introduce other
colours, I delete areas with pumice and
sandpaper, or acid tint.


Oaks Ed i t i o n s 31
Simon Burder
Landscape is my preferred source of
imagery. Its wealth of motifs can become
visual metaphors for life’s experiences: the
path, the church, the rocky place. I hope my
images are as much about how I experience
the landscape, with its glimpses round
corners and choices of view, as they are
representations of actual places. Lithography
is my favourite means of expression, the
stone itself deriving from the landscape.

‘St Enodoc’ developed from visits to the

North Cornwall coast. There is evidence of
human activity, but the church seems so
embedded in its surroundings as to be a
natural feature of the landscape.

I graduated from Exeter College of Art

and was awarded a French Government
Scholarship to study lithography at the Ecole

des Beaux Arts in Paris.

In 1995 I established my own lithography
studio at Oaks Park near Sutton, Surrey,
where I continue to work primarily with stone
and to encourage other artists to discover for
themselves the magical properties of grease
and water. My lithographs are regularly
exhibited in Britain and abroad and have
been collected by institutions including the
British Library, Cambridge University Library,
University of Wales, Aberystwyth and the
Royal Albert Memorial Museum, Exeter.

t 020 8542 24541



O liver Beva n

The subject belongs to the artist’s series on the Piazza del Duomo in San Gimignano. He
concentrates on tourists: their ‘lightness of being’ which stems from not belonging there,
a kind of positive alienation. The big spaces and the overhead view underline this and also
promote an abstract freedom of composition. Oliver Bevan graduated in painting from the
Royal College of Art in 1964 and has exhibited in London, Paris, Zurich, Toronto and in art
fairs in Basel, Dusseldorf and Cologne. He has works in the Museum of London, Guildhall
Art Gallery, Herbert Museum, Coventry, Middlesbrough Art Gallery and many corporate

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

prepared on litho stones by the artist at Oaks Editions
editioned: by Simon Burder
paper: Somerset Velvet White 250 gm2, price £250

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

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

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


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

He studied at Brighton University for his BA 92-94 and then his MA at the Royal College
of Art 94-96. He has had several solo exhibitions in East Anglia, including in 2003 at the
Britten-Pears Library during the Aldeburgh Festival and in 2005 at The Fry Art Gallery.

Colin’s introduction to lithography with Three Corner Wood gave him a different approach
to creating an image, which he found refreshing. This print is the second work he has done
with us, which has used more of the lithographic opportunities for mark making.


Repairing the Mara Cu

Noel Myles
“My pictures represent my experiences of looking at landscape. I photograph whatever catches
my eye, both distant and nearby and accumulate this information over a period of time.

The negatives are selected and combined to form an image that evokes a memory of those
experiences. Variations in the composition are achieved by adding or removing negatives as
the picture grows. Sometimes over 200 negatives comprise the final composition. He came to
photography with a background in painting and printmaking.

He wants to liberate his still photographs from the static viewpoint and the single moment.
They do not record a fixed position in time or space. They are composed in the studio not in the
camera. The idea is that they encourage prolonged contemplation that moving film does not
provide and that these accumulated compositions present an extended sense of experience in
a still image that a single-frame photograph does not achieve.

The process used to create this image is unique to The Curwen Studio - Photographic Contone. It allows a
true representation of the negative(s) - as there is no dot screen. The process is wholly archival.

The Curwen Studio 35

Mark Hearld
A fascination with animals and plants always
found its way into Mark’s work at college.
Hen runs and pigeon lofts – appear often in
his images- as in the first Curwen lithograph
(Pigeon Loft) – inspired in part by Picasso’s
pigeons drawn in the South of France
and the E. Ravilious watercolour Corporal
Stediford’s Mobile Pigeon Loft.

He admires Picasso’s drawings over anyone

but feel drawn to the work of Bawden,
Ravilious and Piper from the 1930’s - and
the Neo-Romantic artist/illustrators of the
40’s and 50’s, Keith Vaughan and Craxton
– something to do with their English
particularity of vision.

He teaches illustration part time on the

foundation course at York College, where he
is continually inspired by the creativity of the

The Studio commissioned Mark to do a print to

celebrate our 50th anniversary in 2008 to represent
the company from which we evolved - the Curwen
Press. He has also designed a pattern paper for us.

Bramble & Apple Allotment, top

Allotment: Goat Husbandry, bottom


John Bellany CBE RA
John Bellany studied painting at Edinburgh College of Art under Sir Robin Phillipson from
1960 to 1965. He gained an Andrew Grant Scholarship in 1962, taking him to Paris and in
1965 to Holland and Belgium. He studied at the Royal College of Art, London, under Carel
Weight and Peter de Francia. Bellany went on to be Lecturer in Painting at Brighton College
of Art and at Winchester College of Art, Visiting Lecturer at the Royal College of Art and also
at Goldsmiths College of Art. He has also been Lecturer in Painting at Goldsmiths College of
Art and was Artist in Residence at Victoria College of the Arts, Melbourne.
John Bellany is perhaps one of the best known Scottish figurative painters working today.
He has gained a huge reputation in the art world with his unique style. He has created prints
with us for a number of years and ‘The Fish have Gone Away’ is one of a set documenting
the Great Eyemouth Disaster of 1881, where 129 fishermen died in a ferocious storm.

The Fish have Gone Away

Santa Monica Beach

Paul H oga rt h OBE RA RE 19 17- 2 0 01

Paul Hogarth was regarded as Britain’s pre-eminent water colourist, working within the
tradition of Edward Lear and David Roberts by creating images of the faraway and exotic
places of our world. These have appeared in his own books and lithographs and also
in collaboration with such distinguished writers as Robert Graves, Graham Greene and
Lawrence Durrell.

Paul Hogarth’s work is held in collections worldwide including the British Museum, and
Library of Congress and the Victoria & Albert Museum. He has exhibited regularly in
London at the Francis Kyle Gallery and was awarded the OBE in 1989 for his contribution
to the Arts.

The series of prints created through the 1990’s were inspired by his extensive travels in
the footsteps of DH Lawrence and Lawrence Durrell and sought to capture the feelings of
the times that the two authors were experiencing whilst in the different locations. Santa
Monica Beach portrays the fashionable resort once favoured by film stars in the 1920’s.

The Curwen Studio 37

John Howard Print Studios

John Howard Print Studios is a workshops, courses and open

high-quality and vibrant facility sessions. The print studio offers
with opportunities for new and facilties for printing copper, zinc,
experienced printmakers to develop steel and aluminium plate, linocuts,
their skills and expertise. Located woodcuts, collographs and monoprints
t 07870 679061
in an iconic eco-building on the and can take 10 printmakers with ease.
waterside in Penryn, Cornwall, with The studio also provides opportunities

views to Falmouth, the studio is for display and sale of fine art prints and Unit 4, Jubilee Wharf,
Commercial Road, Penryn, TR10 8FG.
developing as a centre of printmaking for demonstrating the art of printmaking
excellence with a programme of to the wider public. nb. the building is fully wheelchair-accessible.


Joh n H owa rd RE
John worked in industry in the Midlands
for ten years before graduating in 1989
from University of Central England with a
First Class Honours Degree in Fine Art. He
moved to Cornwall in 1995 and now runs
the John Howard printmaking studio as well
as undertaking part-time lecturing in and
out of the county.

Working mainly monochromatically, John

has explored a range of subject matter,
using his particular expertise in exploiting
the qualities of light and experimenting
with form and structure, both natural and

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

29cm, etching & aquatint, unframed £325

t 07870 679061

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

‘Winter’, etching with aquatint on paper, framed Size: 46.5 x 49.5cm.

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

Jason Lilley
Jason is usually known for his paintings, exhibiting regularly at the prestigious Belgrave
Gallery, in St.Ives. Under the guidance of John Howard RE, Jason is also gaining
recognition for his prints.
“The interlocking irregularity of Lilley’s St.Ives skylines, in taking Nicholson’s or
Haughton’s Mid-Century rhythmic architecture into a new century, reveals artistic
continuity and the safe-guarding of a townscape protected by restrictions of natural
geography and local planning regulations.
Lilley’s townscapes are thus both documentary and improvisatory in character, relying on a
balance between naturalistic and plastic, descriptive and abstract factors.”*
*Peter Davies (St.Ives 1975 -2005 Art colony in Transition)

Jason Lilley 10, Middle Rosewin Row, Truro, Cornwall. TR1 1EL


Sa lly Spen s
Sally Spens has worked as a textile designer for over twenty years,
with work selling internationally, particularly in Japan, and included in the textile collections of
the Victoria & Albert Museum. A graduate of Goldsmiths’ College, her return to printmaking is
informed by many years of designing for print and being part of the history of textile design.
“ I see the work as being simply about the beauty of the subject, its
inherant rhythms, and the abstract qualities of the composition. It is in the tradition of the
decorative arts.”

t 01326 340056 m 07733 406 229

‘Winter’, etching

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

Sue Corke
“ In 2007 Susan Corke won a Ferdynand Zweig travel scholarship to undertake practical
creative research into contemporary printmaking and illustration in northern Europe. Her
travels in 2008 took her to Norway, Sweden and Finland, and she was also the Artist in
Residence at Amsterdam’s Grafisch Atelier in November and December 2007. Whilst
working there she was inspired by a season of parades and modern folk tales about St
Marten’s night and the Parade of St Nicholas. A menagerie of birds, rats, dogs and horses,
street creatures living and skeletal, began to take form. Combining drawing and pinhole
photography her photo-etchings evoke an alternative enchanted vision of the city at night.
She studied at Middlesex University and Falmouth College of Arts.”

t 07973762891

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

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


Ro s F o r d
Ford is a painter, printmaker and art educator
based in Bristol where she is a member of
Spike Print Studio. Her work is represented
nationally and internationally in private and
public collections including Bolton Museum
and Art Gallery, Bath Royal United Hospital
and Bibliotheca, Alexandrina, Egypt.
She received an MA in multidisciplinary
print in 2008 from University of the west
of England, when she was awarded the
Rebecca Smith Fine Art prize.
Albert Road Viaduct 1 and 11, are from a
series of prints about St Philips, a neglected
district near central Bristol, near her home.
It is a hidden world, seemingly by-passes by
road or rail from above. The large etchings
and aquatints show imagined, elevated
viewpoints emphasising the old relief
railway and footbridge. The work focuses on
juxtapositions of the river Avon, overgrown
vegetation, graffiti, warehouses, security
wires and fences all alongside the evidence
of its working past.
Ford based these etchings on numerous
drawings and photographs made on site.
She continues in the tradition of artists
who work on location and are inspired by
the unordered, the overlooked and the
sideshows of life.

’Albert Road Viaduct I’, etching and aquatint 55 x

78 cm, ed 20, unframed £ 275
‘Albert Road Viaduct II’, etching & aquatint 55 x 78
cm, ed 20, unframed £ 275

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

‘Wish Fullfilling Cow’, silk screen, ed 30

size 43 x 39cm, unframed £275


G a il M ason
Gail Mason completed her MA in Multi-
Disciplinary Printmaking at UWE in 1994, with a
sell out show of large-scale screen monoprints.
She now bases herself at Spike Print Studio
producing work for galleries, corporate
businesses, educational establishments,
hospitals, theatre commissions, and exhibition.
She has been awarded National Printmaking
Prizes from RWA Bristol and ‘Originals’ Mall
Galleries London, 2008, and her work is held in
private and public collections worldwide.
Her uplifting and reflective abstract silkscreen
monoprints are worked on a generous scale,
which enables the use of gestural painterly
marks, together with fine detail. She explores
the emotional landscapes of the soul, where
rich sumptuous colour contains multi-layered
The prints are built up from successive layers
of painting, stencil and scraffito, improvising
using dissonance and harmony around a given
theme. The ‘taste’ of colour is fundamental
to her practice and sets the mood for the
The secretive nature and semi-blind process
of painting through a screen forces her to
internalise the formal elements, allowing her to
utilise the chance mark without being inhibited
by the ‘white space’.
Research in aerial photography, the psychology
of colour and Aboriginal ideas of mapping the
land continue to inform her work.

’Would you go?, silkscreen monoprint, framed

size 78 x 58cm, far left

‘Busy being beautiful’, two silkscreen monoprints

on backlit perspex, framed in lightbox 98 x 98 x
12cm, price £1,200.00

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

Angela is intrigued by the sculptural nature

of letters embossed on paper. The works
illustrated show two such woodcuts. The
first is from Zorba the Greek by Nikos
Kazantzakis. The lettering here is based
on Herman Zapf’s NEULAND typeface,
chosen for its dense texture, and because its
minimal curves make it ideal for cutting. In
the second, ‘Honour to Old Age’, by French
19C journalist Alphonse Kerr, the alphabet
is inspired by the road sign ‘Old People
Crossing’. The quotation is written out in full
at the bottom of each of the limited edition.

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

61 x 25cm, unframed £100.00, right
’Dreams’, woodcut, ed 50, framed size 65 x 35cm,
unframed £100.00, far right


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

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

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


K at h e rine S m it s.
This print has been inspired through my work on the “bog”. A project , i am involved with at
the leinster print studio. The regeneration by nature of the flora and fauna in minature on the
bog landscape fasinated me, the colours, forms, and the intricate minnitae of the plant life
that reappears from the bog is an ecosystem all of its own. Plants that thrive on water,air,light
and insects. The continual reemergence of growth.


’turning’, carborandum & drypoint, ed 20

Dedre Shanley
I work mainly in carborundum with my prints,which i favour for the richness of colour
obtained from the process and its closeness to painting.
Sometimes a print will envolved etching and drypoint as well.
My inspiration is the landscape , an element of which is almost always present in my prints,
which are partly representational, partly abstract.

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


’Rock 1’

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


G ay O ’ne ill

My prints are mainly etching and aquatint. They are figurative and linear
with aquatint for tonal effect. I also work in pastel.


’Making Waves’

Rebecca Humfray

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

flora and fauna of unimproved chalk pastureland.
I was inspired as a child to try and capture some of these glories on paper.
Printmaling , with its huge range of possibilities and uncertainty of outcome,
make it an exciting medium with which to explore my subject matter

L i e n st e r P r i n t S t u d i o 51
Leicester wood engraving, letter - An education and outreach programme We are dedicatedto breaking down
Print Workshop press; lithography; screen printing; for children, young people and barriers to participation and a
promote the practise and enjoyment monoprinting; gum arabic and transfer community groups - Editioning service commitment to artistic excellence.
of fine art printmaking to a wide and methods - Specialist knowledge and for practicing printmakers. We welcome experienced printmakers
varied audience in the East Midlands technical support in traditional and non We also organise a programme of and new comers.
and across the UK. From our studio we traditional techniques in a well equipped, exhibitions including Passion 2 Print
deliver: well lit, ground floor studio - A varied in our annual members’ show and Small lucy@

Affordable printmaking facilities for house and off site course programme Print:Big Impression our biennial touring, t 0116 2553534
Leicester Print Workshop
intaglio – etching, mezzotint, drypoint, running throughout the year, ranging mini print exhibition which is open to
50 St Stephen’s Road
collagraph; relief – wood cut, lino cut, from introductions to master classes makers from across the UK & beyond. Highfield, Leicester, LE2 1GG.


Gemma Wright
My main interests as a practitioner are printmaking, book art and architecture and their
relationship to each other. I utilise etching and screen printing to explore landscape, more
specifically the impact of the inner city and the urban environment within which we exist.
I develop imagery captured and manipulated through digital photography and collage to
expand representation in connection with experiential, emotive responses to the city; to
put yourself within the work and find your own way through it.

e t 07854 073597

‘environ IV’, screen-print on BFK Rives ed No. 3 /10, unframed £ 90

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

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

e hc

L e i c e st e r P r i n t W o r ksh o p 53
Ji l ly Sh o re

I am interested in describing experiences through visual language and exploring the notion that
meaning can be discovered through art making. Creation of an image can thus be a means of
helping to make sense of experiences.
Currently I am considering ideas about containment and boundaries which can evoke issues of
safety and knowing where one is in the world. Visually, containment can be expressed in literal
terms such as a jug containing a liquid, or more metaphorical terms such as feeling emotionally
and physically contained by one’s home (or lack of home) and all that this may involve.

t 07787 851512 email

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

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

Nichola Hingley

I like the idea that a print can be almost a dream world where the viewer can be
transported. I like to feel I am just producing a starting point especially in abstract images,
and it’s the viewer who is imposing ideas and interpreting the print to remind them of
things they have experienced themselves. I feel using the screen-printing process provides
this, as well as individuality and experimentation, giving each print a unique look and
personality. Each screen-print I produce is diverse from one another; being produced from
the same idea but has its own distinctive impression.


Ochre Print Studio is a new contemporary print technology. and varied courses and workshops learning difficulties and is also
venture open access print studio, Established in 2007, the spacious and excellent artists talks with home to Lockwood Arts, an
welcoming and encouraging artists facilities include four large visiting national artists and tutors. inclusive group of artists with
and printmakers of all abilities to vacuumed screen-printing beds, 2 Ochre is based at Lockwood further facilities for glass making,
engage in the creative process of large textile tables and 2 etching Day Centre in Guildford, Surrey. ceramics and a forthcoming digital
both traditional printmaking and presses. The studio offer frequent The centre cares for adults with editing suite.
t 07988229763

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

‘Wasdale 1’

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

Tessa Pearson M.Des. RCA

Tessa Pearson is passionate about colour, and her work is a response to
memories of inspiring images and colours seen on her travels in Europe
and Africa. A successful textile artist, Tessa recently returned to her first
love of printmaking, delighting in the monoprint process with its element of
chance and painterly qualities of mark making. She works mainly in
series, re-visiting a theme many times. Tessa uses multi-plate layering of
colour and textures, together with chin-colle, collagraph and solar etchings
to create bold abstract original prints.


Ge rry B a p t ist
The opera Salome has fascinated me
for a long time.  Salome’s lust for the
Prophet John the Baptist is so obsessive
and overwhelming that, because she is
humiliated by his rejection, she is willing
to have him killed so that she can possess
him.  With text by Oscar Wilde and music by
Richard Strauss, the opera mixes romance
with desire, religious values with the profane
giving this Biblical story a hedonistic appeal.
She could so easily be part of our consumer
society, forever grasping for more. 
Wanting to evoke the atmosphere of
tension and passion in the opera, I’ve
made comparisons with reality T V which
gives participants who crave celebrity the
opportunity to achieve their aims. I’ve used
collaged image fragments from old comics,
magazines and books, as well as my own
drawings and manipulated photographs, to
try to capture the sensations of the story and
our ambiguous relationship with desire and
The images are printed on a hexachrome
machine using CMYK colours plus orange
and green which increases the colour range
enormously. Screenprint varnishes have also
been used. Photo etching prints have been
added to certain images

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

screenprint varnish & photo etching, ed 30, size:
40x40cm, price £250

Och r e P r i n t S t u d i o 57
Susanna Harris Hughes
Susanna is fascinated by Cabinets of
Curiosities and ‘collections’. Her series
of ‘Inheritance’ lithographs were made
following the death of her father and the
discovery of lots of random artefacts
collected over the years by different family
members some of whom she knew and
others whom she did not. ‘Fames’s Twilight
1’ is about her grandfather who wrote books,
fought in W W1 and was later Professor of
English at Elphinstone University, Bombay in
the 1920s.
Susanna has an MA in Printmaking from
Wimbledon School of Art and BA (Hons) in
Fine Art from West Surrey College of Art
and Design. In 2008 her work was exhibited
at ‘Footprint International’ at the Center for
Contemporary Printmaking in Norwalk, USA.
Her work is in many public, corporate and
private art collections including Guildford
Borough Council, KPMG and the University
of Wales, Aberwystwyth.

‘The Inheritance’, lithograph & chine collé,

somerset paper & tissue, ed 1, size 76 x 57 cm,
framed £ 500


Melanie Gairns
Melanie is a fine artist whose work is primarily
concerned with past memories, present experiences and future aspirations being
intricately linked to the objects within the domestic sphere providing a sense of belonging
and shaping identity. Melanie uses traditional printing methods,
photography and digital media to document her
interaction with everyday objects and personal items that comprise her domestic
environment. They are familiar yet mundane, giving a sense of routine and associated
boundaries of time, context and person in conjunction with security and a necessary
grounding. These objects often anchor memories and emotions evoking attachments.

‘Shaping Identity’

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

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

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

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


S im on R ip ley
Simon Ripley’s work speaks of a numinous
world which is not the everyday and not
what is precisely seen, inspite of the titles.
It is a world dependent on what is not quite
seen and not quite understood because it
is not dependent on words; it is a different
kind of articulation. These are abstract
forms which relate to sensations and ideas
and meditations on themes which are as
old as the hills. They are both exuberant
declarations of what colour can do in relation
to shape, line and form and invitations to
think differently about the material world.
Katy Macleod, Writer, Educator, Art Critic
and Theorist.

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

framed £850

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

My prints are produced mainly using

Perspex for plates and the images are then
scratched, burnt or etched onto this, using
many different tools and etching mediums
to produce an innovative printing style. This
includes monoprint and drypoint along with
experimental techniques.

The work starts with simple lines and

sketches, taken directly from the landscape,
the final picture is the distilled image to its
simplest and purest form. Many of my prints
take inspiration from traditional Japanese
images, which I rework from my western
perspective to produce an image where
these margins are blurred. My recent work
is exhibited in a number of galleries in the
South West.

‘Dartmoor’, etched perspex with chine colle,

4 monoprint variations of theme, framed £150


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

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

D o u b l e E l e pha n t 63
Emma Molony
I’m interested in layering various printmaking processes together and repeat patterns on fabric and paper resulting often in wall coverings with a visual narrative.
I begin with monotype drawings and combine these with monoprints using found materials and textures – lace, fur, plants, wallpapers. These prints are then transferred onto screens to
enable me to experiment with colours and overlapping designs through screenprinting.
Most of my work at the moment is derived from the Edwardian writer Saki’s sardonic short tales.

‘Sredni Vashtar I ’, screenprint, edition 35, size 30 x 135cm, price framed £275 ‘Sredni Vashtar II’, screenprint, edition 35, size 30 x 135cm, price framed £275


Lynn B a iley
My original training in the 1980’s gave me
a solid grounding in traditional printmaking
processes, including traditional etching.
But being involved with Double Elephant
Print Workshop since it’s inception over
ten years ago, I have had the opportunity
to experiment with more environmentally
friendly methods. I find that there is still the
same alchemy and excitement with acrylic
resist etching as for traditional etching but
without the need to use organic solvents and
other hazardous materials.

Through my work I strive to express

something about the physicality of a
landscape and use it as metaphor for the
vitality of change and renewal as well as
a comment on how we interact with the
land. The resulting images emerge from
experimenting with different ways of
combining contradictory elements.

Lark Ascending – Over Landfill is celebration

of how what was once the largest municipal
tip in Exeter is now vital for wildlife. An
important part of creating my artwork is the
collection of samples and materials from
areas I’m studying. I frequently gather plants,
litter and soil samples and use them in the
printing process. But here I have chosen
to represent the larks with a section of the
music score from Vaughan Williams Lark

Lark Ascending – Over Landfill’,

etching, edition 10, framed £280

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

As a printmaker I am always seeking to

explore new techniques and methods,
turning to organic and purely geometric
shapes, as well as landscape, for inspiration.
I work almost exclusively in relief
printmaking, where the incised line is both
physically cathartic and permanent.

Over the last couple of years my work

has moved into the entirely abstract, and
my most recent series of prints (the Jazz
series, of which Boplicity is the first) are
contemplative explorations of colour and
shape. Taking my initial cue from abstract
organic forms the prints start life as
paper collages and sketches before being
translated into relief prints, where colours
are layered to give transparency, texture and
depth to the image.

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

size framed 50 x 50cm, price £150


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

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

A skilled metalworker, Fallis has always been

concerned with transforming surfaces and
with craftsmanship. Many of her pieces also
express a characteristic double-edged sense
of humour. Her recent preoccupation with
the environment, especially the plundering
of our oceans and their resources, has led
to a series of powerful statements about
pollution, falling fish stocks and our own
responsibility for the crisis. Her series of
prints of fish species accompanies three-
dimensional works such as ‘Holy Mackerel’,
‘Fish and Chips’ and ‘The Fast Supper’.

One of the most exciting up and coming

young artists working in Britain today, Abigail
Fallis is the first Artist in Residence at Kings
Place, a new cultural centre in Kings Cross,

‘Only Here for the Halibut’

photographic print on watercolour paper
ed.10, size 90 x 150cm


Te ren ce C ovent ry
Born in 1938, Terence Coventry studied at
Stourbridge School of Art and the Royal College.

Rooted in a strong figurative tradition,

Coventry’s sculpture explores familiar
animals such as birds, bulls, and boars. The
human figure is another preoccupation to
which he frequently returns. Having spent
many years living and working in Cornwall,
the stimulus of the land and its occupants
is central to his art: their ruggedness and
gentleness, their movement and behaviour.
Through a harmonious synthesis of these
contrasting facets, Coventry expresses
his fundamental relationship with the
environment and produces images of great
power and tenderness.

Alongside sculpture, drawing is central to

his practice and printmaking has become
a natural extension of this. He approaches
it with the same energy and verve that he
applies to his three-dimensional work and
his studies of birds, beasts and figures are
strong, textural and dynamic.

Terence Coventry exhibits widely and

regularly and many of his sculptures are held
in public and private collections throughout
Britain and in USA.

lithograph, ed.25, size 35 x 50cm

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

Lynn Chadwick is one of the giants of

twentieth century sculpture. His work spans
fifty years and includes over a thousand

He first came to prominence when he was

one of the twelve semi-finalists for the
Unknown Political Prisoner International
Sculpture Competition in 1953 and he went
on to win the International Prize for Sculpture
at the 1956 Venice Biennale. Many honours
and awards followed and Chadwick’s work
is a cornerstone of all major international art
collections. In Autumn 2003, a retrospective
exhibition of his work was held at Tate Britain
in London.

He not only produced a thousand sculptures

but many graphic works which span every
decade of his career. Printmaking was
always of major significance to him and he
explored both monoprint and lithography
with characteristic energy and ingenuity.

Throughout his long and distinguished

career, Chadwick’s work kept a relevance
and individuality. With his unique and
singular language he evolved a range of his
own archetypal figures and beasts which
have become iconographic and instantly
recognisable as his.

‘Seated Woman’ 1972,

lithograph, ed.99, size 62 x 80cm


W illia m T ucke r
Born in 1935, William Tucker studied at the
Ruskin School of Drawing, Central School
of Art and Design and St Martin’s School of
Art. In 1972 he represented Britain at the
Venice Biennale and in 1974 published his
highly successful book ‘The Language of
Sculpture’. Tucker has lived and worked in
USA since 1978.

From the early experimental and highly

abstract constructions, often involving
geometric elements and bright colour,
Tucker’s work has gradually evolved to
become more figurative and expressive. His
return to modelling in the 1980’s has led to a
series of works experimenting with scale and
mass. Continuously investigating the nature
of sculpture itself, Tucker’s powerful and
dynamic forms suggest narrative yet retain
an ambiguity and spontaneity.

Though he does not enjoy printmaking as

a means of making multiples, in 1987 he
made a series of monotypes, working with
Garner Tullis at studios in Oakland and Santa
Barbara. The images produced share the
expressive quality and emotional strength of
his three-dimensional work. Tucker recalls
the process of drawing directly onto the plate
with a brush or rag as ‘a great experience in
terms of direct invention in response to an
exciting process.’

‘ XX’
monoprint, size 83 x 64cm

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

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


Ant h on y A bra h a m s
Anthony Abrahams was born in 1926. After
graduating from Cambridge with and Arts
degree, he studied at the Anglo-French Art
Centre in London and now lives and works in

Abrahams’ carefully poised, enigmatic

figures follow a tradition in British art
that began in the 1950’s with sculptors
such as Armitage, Butler, Chadwick, Frink
and Meadows. More recently, he has
concentrated on the exploration of printing
methods including solar prints, drypoint and
monoprints. He handles this new medium
with characteristic dexterity, producing
images of great charisma and poignancy.
His emblematic figures, caught in playful
postures, remind us of ourselves and of
those familiar to us.

Abrahams’ work is in private collections in

the UK, USA and Europe. His most recent
major sculpture can be seen at Kings Place,
Kings Cross, London.

‘January 17’ 2005

monoprint, size 40 x 30cm

G a l l e ry Pa n g o l i n 73
GPC piece to come


Davina Wynne-Jones
‘Revolving Tree Edition 1’, etching mounted on board.

t 01285 851457
Rose Cottage, London Road, Poulton,
Cirencester, GL7 5JG.

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

t 01865 881934
email salwaypg @

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

Denise Mason
Denise was inspired to begin printmaking whilst studying an art foundation course at North
Oxfordshire College of Art and Design; she went on to achieve a BA (hons) degree in fine
art.Denise specialises in Screen-printing and more recently non-toxic Intaglio type etching,
these mediums lend themselves to the exploration of colour and form which are at the
heart of her work.
Her imagery is based on subjects she observes from her surroundings and places she has
visited. Denise exhibits regionally and nationally, her work can be found in collections in
UK, Cyprus, Germany and USA.

t 01327 261972
email denisepmason@


M a rta Lo m b a r d
I trained at St Martins Central School, London where I first did stone lithography, then
at York College of Arts and Technology p /t where I printed off zinc lithography plates.
I taught art in York and when I moved to Bristol, taught art and lithography at Weston-
super-Mare College. At Rutgens University in Jersey, USA, I did lithography on stone
and also woodcut prints. Back in England, I still wished to continue printing off stone. I
joined Bath Printmakers but still searched a place to do stone lithography. At last I found
Gloucestershire Printmaking Co-op in Thrupp.
The physical act of preparing the stone, the drawing with crayons and inks, resulting in
subtle textures and tones. Then with gum and acids blocking the non-printing surface.
The rolling (with big leather rollers) of greasy ink on a wet stone and printing cannot be
bettered for satisfaction.

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

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

t 01453 884775
Chalford, Glos.

GPC 77
Jane Henriques
Jane’s colourful work represents the latest
stage in a varied career, and her whimsical
imagery the desire to be freed from the
constraints of a scientific and journalistic
background. Having taught Anthropology
and Animal Behaviour in the USA, she went
into film and television, working in the BBC’s
Natural History Unit, before becoming an
independent producer. Her contributions
to print journalism include her powerful
reportage on street children in Brazil for the
Observer Magazine (1986 ) and her popular
feature on ‘Women of the Arctic’ for Marie
Claire. Her articles are frequently illustrated
with her own photographs.

Taking up Fine Art, Jane has recently gained

a BA (Hons) in Drawing and Applied Art at
the University of the West of England and
a Post-Graduate Diploma in Life Drawing at
Barcelona University. Although she practices
in various media, she has focused on
printmaking, and is one of the few who work
on stone, which suits her expressive style.
Her strongly narrative lithographs and screen
prints poke fun at the similarities between
humans and other animals, as she abandons
attempts to be the dispassionate observer
and gives full rein to her imagination.

Fandango’’ ed 6 /12

t 01453 763265
11 Castle Street
GL5 2HP ‘


Rosanna Mahony
This artist is well known for her vibrant
and textured colourful prints. She has
developed from fine multi coloured etchings
to Collographs and Monoprints, sometimes
using collage and mixed media and other
innovative techiques.
Rosanna has specialised in printmaking
since completing her diploma course at the
Byam Shaw in London in the 70s. Since then
she has travelled and exhibited all over the
world, including Africa where she set up a
Print Workshop and School in Johannesburg.
She has had many one woman shows and
has exhibited regularly at the RA in both
London and Bristol.
Rosanna currently runs small private
workshops at Ruskin Mill, Nailsworth.

“At Rutgens University in Jersey, USA, I

did lithography on stone and also woodcut
prints. Back in England, I still wished to
continue printing off stone. I joined Bath
Printmakers but still searched a place
to do stone lithography. At last I found
Gloucestershire Printmaking Co-op in

The physical act of preparing the stone, the

drawing with crayons and inks, resulting in
subtle textures and tones. Then with gum
and acids blocking the non-printing surface.
The rolling (with big leather rollers) of greasy
ink on a wet stone and printing cannot be
bettered for satisfaction.

t 01453 762231

GPC 79
Fra n C h rist en
I work in a variety of mediums, often
combining them to achieve the effect
I want to achieve. Quite often I mix
painting and printing in the same work.
I am exploring memory and its
fragmented, transitory nature, also
the memory that place seems to hold.
I’m very interested in trees, and these
feature a lot on my work I like painting
in a variety of styles and mediums,
trying old and new and mixing them up
Most of my work at present brings
together my love of photography,
printing and painting. I am also using
digital technology to manipulate images
to achieve the results that I want.
Although I would say that I work in
a figurative manner, I am moving to a
more abstracted format, to simplify and
clarify my interpretation of memory.
Serendipity plays a big part in the
work I do, I find the chance element in
printing exciting, and you never quite
know what is going to happen

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

unframed £120

t 01453 833354
m 07957 674255
email fchristen@


Carlos Ordonez
Carlos Ordonez was jointly responsible, with
local photographer Fred Chance, for the
PhotoStroud Festival of Photography, held
in October 2007, and continues to develop
publishing initiatives and projects with that
organisation. He is an active member of
GPC and is particularly involved in a group
developing photogravure and photo-etching
work, alongside his drawing and painting.
He has recently concentrated on curating
printmaking exhibitions on behalf of the
Co-op and, as part of his work as a member
of the Impress 09 Festival organising group,
has been responsible for forging links with a
workshop in Havana that has resulted in the
Cubans’ participation in the Festival.

‘Spanish Torso II’

01453 824212
07970 258151
ordonezc @

GPC 81
T uula Jout sen
Tuula Joutsen’s multi-layered prints are
fascinating, playful and flowing forms that
draw the eye and tease the mind. Born and
brought up in Finland where she studied
at the Academy of Fine Art, Helsinki she
moved to England to study for her MA,
which she took at the Royal College of Art in

Much of her inspiration is taken from nature-

indeed, you can see the forms of flowers
clearly within her work-but it has an abstract
quality,too.” I sometimes describe my
work as ‘doodling’, Tuula says”I play with
techniques in printmaking to create flowing
forms of different kinds; I print different
colours on top of each other, or sometimes I
work with the same colour, turning the plate
and printing again and again. I never know
what will be- that’s part of the beauty of the
finished work.”

Tuula has been a member of the

Gloucestershire Print Cooperative for three
years, and she also works for them as a tutor
and print technician.


Maxine Relton
For some years, Maxine has been
exploring notions of fragmentation,
divergence and disconnection that
she sees reflected in the world today.
During the printmaking festival,
Maxine will also be showing an on-
going series of large woodcuts which
are highly autographical, drawing
their inspiration from key moments
in the artist’s childhood or emerging
from a highly charged present
Maxine shows her work regularly
at the Royal West of England
Academy (where she is an elected
Academician), with Spike Print
Studio and the Printmakers’ Council
of which she is also a member,
and other exhibitions throughout
the country. She runs a variety of
creative art workshops at home and
abroad, extends her practice into
colleges and schools and has had her
work featured in various publications
as well as on television. Her 3-floor
studio gallery and working studio
is open to visitors throughout the
festival as well as any other time by

‘Approaching the Ridge (detail)’,

monoprint, framed £ 550

t 01453 832597
Studio Gallery
5 The Street,
Horsley, Stroud,
Gloucestershire, GL6 0PU.

GPC 83
adv e r t i s i n g 85
LB Card.qxp:LB Card.qxp 5/1/09 15:48 Page 1

Perfect Reproduction
YOUR WORK IN PRINT 01622 750884

adv e r t i s i n g 87

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

Thank you to the following for providing festival funding:



And to those who have provided support in kind:

Andrew Lovell for catalogue, publicity materials and website design

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

And to our faithful festival committee, for your vision, commitment and hard work:
Tricia Henry, Neil Bousfield, Carlos Ordonez, Sue Drennen, Andy Lovell, Christine Felce, and Jane Henriques.

The Coordinators: Sue Drennen, Christine Felce and Jane Henriques


adv e r t i s i n g 89
ISBN 978-1-56592-479-6

9 781565 924796

d es ign - a n d y @ a n d y l ove l l . c o m m.0 7 9 76 2 7 9 0 4 8