Re catalogue low res

Exhibition Catalogue

Royal Society of

PainterPrintmakers From top: Christophe Liotard, Tate Modern, London 2013, screenprint | Elizabeth Tomos, CMYK Registrated Ontology, screenprint Ade Adesina, Contradiction, etching | Eleanor Havsteen-Franklin, Coalesce, etching & thread

EXHIBITION PRIZES birmingham PRINTMAKERS

ARTS CLUB CHARITABLE TRUST AWARD £1000 cash prize

BIRMINGHAM PRINTMAKERS PRIZE £100 cash prize

BADGER PRESS AWARD Studio access to the value of £120

DEBORAH ROSLUND HON RE PURCHASE PRIZE Purchase prize to the value of the selected print

EAST LONDON PRINTMAKERS PRIZE One year’s full membership plus ten free open access sessions

GreatArt Price&Choice

GALLERIES MAGAZINE PRIZE Full page colour advert

HAWTHORN PRINTMAKER SUPPLIES AWARD Materials to the value of £150

GREAT ART PRIZE Art materials vouchers to the value of £250

INTAGLIO PRINTMAKER PRIZE Materials to the value of £150

HOT BED PRESS BURSARY A six month’s residency including unlimited access to studio facilities, technical support, one course place, materials stipend - prize value £500

JOHN PURCELL PAPER AWARD £150 worth of paper

RK BURT EXHIBITION AWARD A solo show in the RK Burt Gallery

PRINTMAKING TODAY PRIZE An editorial feature in the magazine

THE REGIONAL PRINT CENTRE WREXHAM AWARD One year’s membership to include free open studio access and two complimentary tickets to the annual Print Symposium

RE ORIGINAL PRINTS 2016

EURO 2016 Exhibitions and sporting events bring about expectation. This year sees one of the most anticipated football/soccer competitions in a long time. Three of the ‘Home’ nations are involved in the European Championship finals, and there is great speculation on how far one of our home sides could progress in the competition.

v

It brings me back to a starry-eyed time as a child when England1 won the World Cup at Wembley Stadium in London in 1966. I watched the match live from the front room at home on the sofa. Perhaps on recollection I also may have even made some sort of print at school that week!

Some years later and after I had graduated from art school, I was privileged to meet the esteemed British printmaker Michael Rothenstein at his studio in Essex. I was there to select work for a national exhibition and got to talk to him about the beautiful game after I saw one of his prints. He described this particular screenprint (with woodcut, linocut and photo-screen inclusions) from the 1970’s, called ‘Sport’2, in which we see a model girl on a sofa (perhaps watching a game on television) on top a football crowd at the point of a goal being scored, and a goal keeper with outstretched arms. At the heart of this triptych format print, he reminded me that the juxtaposition of disparate elements make for marvelous invention and interpretations of our daily lives. Rothenstein had conjured not only a visually powerful sexual metaphor but employed the process of printmaking as a multidirectional tour de force, combining desire, creativity, attitude, deft process, and daily images into one wonderful graphic celebration.

Some years after my afternoon at his studio, I came across Rothenstein’s formative book ’Frontiers of Printmaking; New Aspects of Relief Printing’3. The book was published in 1966 (that famous year in the myth of football) and a number of things tied together, particularly a symmetry of understanding of how art can mirror life, and when that happens it is very good art indeed!

In this latest exhibition of contemporary prints from the RE we will see many of those expressions of interconnecting process and worldly desire that were so elegantly expressed to me by Rothenstein all those years ago. The following passage from that important book, Frontiers of Printmaking, tends to sum up all that interconnection spirit very well; In recent years printmaking has reached a turning point in its development. Along with other activities, change, a radical change, is taking shape and new streams of vitality are finding their way into the prints studios. Artists are exploring untried ways of expression, and some entirely novel sources of both imagery and printing materials have been uncovered.

Although written in 1966! there could be a maxim here for printmaking’s health in 2016 and of course the possibility of bringing home a trophy?

Prof. David Ferry RE William Michael Rothenstein RA, Hon RE (1908 - 1993) was an English printmaker, painter and art school teacher.

1 England 4 Germany 2, FIFA World Cup Final, Wembley Stadium, London, 1966; 2 Sport’ Woodcut, linocut, and photo-silkscreen on laid Japanese paper, 1973; 3 Frontiers of Printmaking; New Aspects of Relief Printing, Michael Rothenstein, Studio Vista London, 1966.

s PRINTMAKING 2016

Royal Society of PainterPrintmakers

Exhibition Catalogue

From top: Christophe Liotard, Tate Modern, London 2013, screenprint | Elizabeth Tomos, CMYK Registrated Ontology, screenprint Ade Adesina, Contradiction, etching | Eleanor Havsteen-Franklin, Coalesce, etching & thread

From top left (clockwise): Corinna Button, Folly, collagraph & chine-collĂŠ | Debbie Lee, School Leaver, monoprint | David Farrar, silkscreen print | Alice Irwin, Face, etching | Anthony Broad, Tailor, collagraph, chine-collĂŠ, digital print & rubber stamp

RE

From top: Gail Brodholt, All the World’s a Stage, linocut | Kumyoung Kwon, La Vita è Dolce, The 108 Passions No 16, monoprint & screenprint Anthony Dyson, Vincent’s Nightmare, etching, aquatint, collage and hand-colouring | Nana Shiomi, Reverse: Universe-Chashitsu, woodcut

Yucheng Ji, How to Watch the Eclipse No 1, monotype, etching

From top left (clockwise): Theresa Gadsby-Bourner, Conyer Creek at 10pm, monotype with carborundum Jill Carter, Girl with Offering, collagraph | Grainne Dowling, Still Evening, Kinvara, sugarlift & aquatint

From top left (clockwise): Louise Anderson, E35,000, photo etching | Georgia Keeling, Fish, etching & chine-collĂŠ Lars Nyberg, Shadow 4, drypoint | Peta Bridle, Blossom Street, Spitalfields, drypoint | Maria Bowers, Cecilia, photo etching

From top: Leonie Bradley, Spa from Bath Abbey, wood engraving | Ian Chamberlain, Mirror I, etching | Neil Bousfield, Seaside Steps, relief engraving | Prudence Ainslie, Fold I, woodcut & archival digital print | Ros Ford, Lido, Portishead, etching & aquatint

Sarah Frances, Paolozzi, screenprint with linocut collage

From top left (clockwise): Liz Miller, A Classic on Vinyl: Debussy - Clair de Lune - Part 5, etching & printed vinyl record Judy Carpenter, The Boat, etching | John Angus, Portrait A, screenprint | John Duffin, Thames - London, monoprint

From top left (clockwise): Amanda Rees, Caravan, collagraph | Anita Klein, The Tiny Baby, lithograph Maggie Deignan, Night Feeding, etching | Pamela Holstein, Mole Skins, drypoint, map pins with stamp prints on swing tags

From top left (clockwise): Amanda Rees, Caravan, collagraph | Anita Klein, The Tiny Baby, lithograph Maggie Deignan, Night Feeding, etching | Pamela Holstein, Mole Skins, drypoint, map pins with stamp prints on swing tags

From top: Margaret Ashman, Altered Histories Campania, photo etching | Laura Rosser, We Ain’t All Middle Class Bohemians, woodcut Henna Asikainen, Icarus and Other Fallen Angels, monoprint | Biddy Hudson, The Ark, photopolymer

From top left (clockwise): Louise Davies, Summer Dawn, etching | Karen Keogh, Pachamama - Mother Earth, etching Ursula Leach, Leaftree, carborundum & hand colouring | Astrid McGarrighan, Within and Without, etching & aquatint | John Lynch, Demolition 3, woodcut

Dolores de Sade, Super, Artist’s book, hand-coloured etching with wood cover

From top: David Ferry, The Heritage of Large Sculpture in England in Colour, artist’s book, photomontage and text | Peter Lawrence, This is a Wood Engraving, wood engraving Anthony Lazorko, The Organs, colour woodblock | Michael Pritchard, Chilton Street Works, digital pigment prints | Melanie Davies, White River Blue River, etching

‘The theme of landscape in my work is informed by the history of western painting and in particular the landscapes of Poussin, Claude and Constable. In portraying the human figure I revisit the portrait paintings of Bellini, Holbein, Caravaggio and Van Eyck among others. My work explores the tonal varieties of light and shade. The manipulation of light and dark is achieved by controlling plate tone and overlaying dense areas of aquatint which in turn creates atmosphere and tension.

Stephen Lawlor ARE

MEI CHEI TSENG ARE

The experience of living and studying between Taiwan and Italy gives Tseng sensitiveness to more iconic, conceptual and spiritual kind of images. Italian art has great influences on her way of depicting forms, lights and shadows, and the love for wood engraving derives from her passion for literature and delicate details. Mei Chen Tseng has been practicing wood engraving for more than 10 years and is working as a professional painter and printmaker now.

“Prints Edward� was my nickname while at Chelsea College of Art where, as a post graduate, I proofed for Eduardo Paolozzi, John Piper, John Hoyland and Tim Mara amongst others. Since then my love for original printmaking has not diminished but intensified and spilled into collecting, lecturing, teaching, curating as well as creating. I am a committed printmaker and admire equally older and contemporary skills in printmaking and never tire of its diversity to bring alive an idea or message.

Edward Twohig ARE

Fouzia describes play as a key concept of her work. Play encompasses repeatedly finding, composing and constructing new tools and processes to explore objects’ history, surfaces, and qualities, whilst also constructing new narratives. During play she explores her themes: the strangeness of memory, family histories, migration and absence. Fouzia’s work flickers between reality and fiction and use of pictorial language and processes. Figureless, her images have a presence of someone/something that is now absent and a playful nostalgic ‘noise’ unfolds.

Fouzia Zafar ARE

From top left (clockwise): David Bromley, Kyoto Roundhouse, linocut | Jackie Newell, Blackfriars Bridge Under Construction, etching & aquatint John Bryce, Moonlight, Kings Reach, wood engraving | Cora Cummins, Pleasure Park, etching & aquatint

From top left (clockwise): David Bromley, Kyoto Roundhouse, linocut | Jackie Newell, Blackfriars Bridge Under Construction, etching & aquatint John Bryce, Moonlight, Kings Reach, wood engraving | Cora Cummins, Pleasure Park, etching & aquatint

From top left (clockwise): Kei Imai, Port, screen monotype | Peter Ford, Book Stack, woodcut on handmade paper Sara Clark, Trasitional Structure 3, etching | Meg Buick, Lascaux, lithograph

From top left (clockwise): Kei Imai, Port, screen monotype | Peter Ford, Book Stack, woodcut on handmade paper Sara Clark, Trasitional Structure 3, etching | Meg Buick, Lascaux, lithograph

From top left (clockwise): Kei Imai, Port, screen monotype | Peter Ford, Book Stack, woodcut on handmade paper Sara Clark, Trasitional Structure 3, etching | Meg Buick, Lascaux, lithograph

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AGBI

Helping Professional Artists for over 200 years

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Bankside Gallery

Cover Image: Spike Taylor Nostalgic Interfaces MDF blocks with etching ink

48 Hopton Street London SE1 9JH 020 7928 7521 www.re-printmakers.com info@banksidegallery.com From top left (clockwise): Sumi Perera, Inside Out-Outside In [IO-OI] XV, etching & collagraph | Alison Bernal, Carceri 9, relief print | Bren Unwin, Field of Experience, 4th State, etched acrylic with intaglio & relief collage | Sophie Layton, Osaka Night Life, photo etching & monotype | Melvyn Evans, Last of the Winter Light, linocut