Published by coecreative

www.coecreative.com

Front cover by Valerie Lueth

tugboatprintshop

Back cover illustration by Megan Abel

iammeganabel

© Megan Abel
CONTRIBUTORS

Along with the artists and projects featured

in this issue, we’d like to thank all of the
contributors who helped to make this
magazine a riot of inky goodness:

WORDS
WELCOME John Coe / Grace Hailstone / Carl Middleton
to Issue Twenty-five Will Mower / Vinca Power / Annie Silverman
Gemma Trickey

PHOTOS
CONTENTS
Making things is pretty addictive, right? We may see something in another artist’s process that we Omar Balaa / Mary Sherwood Brock 04.  Bits & Pieces ______ Inky inspiration from around the world
want to try out or be struck by an idea we can’t let go of – we have the urge to create, to turn that idea into Bill Chalmers / Neisys Gonzalez
a real thing. These moments of creativity can often feel magical (the mixing of a new colour, the peeling Jannie de Groot / Ruchika Madan 10. The Art Of Printing Big ______ Print Now–Riot Later
back of a first proof print) and sometimes surprising (trying a new approach, changing the scale of work). Dharmaraj Situala / Elaine Taylor
Mark Watson 18. Carving My Way ______ Tugboat Printshop
The craft and care involved in printmaking, whatever the technique, is a gift to ourselves and others.
26.  The Legacy Of A Master Printer ______ Stanley Jones
I L L U ST R AT I O N
In the process of putting this edition together, it’s been interesting to see a bit of a theme forming Viola Wang / Megan Abel
– that of people’s influence on others. Whether it’s the skills and knowledge of a master printer whose 34. Artist Gallery ______ Flat Mountains
ideas have touched many in the print community and beyond, a paper mill making paper by hand for 38.  Modern Love Letters ______ Letterpress Letters
those who print with their hands, or artists from different countries and cultures coming together for a If you are interested in contributing
shared project, it’s a joy to hear about these stories of collaboration and share them with you all. to an upcoming issue or stocking copies 44.  Curious Folk ______ Hannah Gaskarth
of Pressing Matters, please email
[email protected] or visit our 50.  Happy People Happy Paper ______ Tej Handmade Paper
Whether you are drawn to a certain aesthetic, choose to nurture ideas based on your own website at www.pressingmattersmag.com
experiences, or are using print to make sense of the world, I hope that you’ll find some 56.  Kitchen Lithography For Beginners ______ Viola Wang
fellow makers here doing things that you connect with and that these tales of creative
endeavour speak to you – sparking something special as we start the new year. The articles in this issue reflect the opinions 58.  The Idea, The Making & The Print ______ Alistair Gow
of their respective authors and are not
necessarily those of the publishers and the 64.  Tiny Prints Big Ideas ______ Megan Abel
editorial team. © 2024 Pressing Matters
Magazine. All rights reserved. 66.  Travelling Flotilla ______ Annie Silverman
John Coe / Creative Director
72.  Why I Love This Print ______ Jack Beagley
www.pressingmattersmag.com Special thanks to Mark McKellier for use
of the Meuse font – www.mckellier.com
74.  Memory Making ______ Nicola McInally
pressingmattersmag
78.  Issue 25 Print Challenge ______ Black & Pink
Printed by Buxton Press, UK on Edixion
Offset (FSC® certified paper) using vegetable 84. Workspaces ______ Mark Timmins • Martin Kochany • Lisa Stubbs
inks and sustainable printing methods.
www.buxtonpress.com 92. Story Behind The Print ______ Sophie Lewisohn
 CO N N E C T I N G T H R E A D S P R I N T A N D P L AY

Parallel Lives by Gill Clarke and Steve Marshall shares a unique insight There’s an inescapable joy that comes with a set of LEGO – an
into the threads that connect eight contrasting, highly accomplished opportunity for limitless creativity. Print & Play – The Art of LEGO
women artists working during the 20th century. Between them, Letterpress by Martijn van der Blom and Roy Scholten charts ten
the work of Wilhelmina Barns-Graham, Prunella Clough, Ithell years of printed experimentations with the toy bricks, and we get the
Colquhoun, Evelyn Dunbar, Gertrude Hermes, Barbara Jones, impression it’s been an endless source of fun. The book starts with a basic
Enid Marx and Monica Poole covers a dizzying array of disciplines introduction into letterpress and why it makes the perfect partner to
including sculpture, painting, printmaking, textile design and book LEGO. “Printers have always used lines, shapes, furniture and dingbats to
illustration, to name just a few. “Stylistically diverse, what binds add something new to their designs, so why not use LEGO in the same
them together is an independent outlook and a willingness to pursue way?” muses Roy. Initially spending some time developing a system that
a singular artistic vision often in defiance of prevailing fashions would work at Dutch Type Height, the pair’s first project together saw
and influences,” notes Gill. “Each was an original and innovative them embracing the built-in playfulness of LEGO, starting with dinosaur
creative force, who built a career on their own terms and developed a printing workshops for 9- to 10-year-olds. The expressive shapes of the
significant and enduring body of work.” creatures offered the perfect playground to see what could be done with
the modular set and flat pieces.
Of particular note to us printmaking fans is the work of Gertrude
Hermes. She excelled as both wood engraver and sculptor, and Whilst this bilingual book (in Dutch and English) covers a multitude of
although she felt she might have been more successful had she creative experiments and ideas from the last decade, a few projects stand
concentrated on one or the other, she was unable to choose between out. Martijn’s elegant Qunz typeface is a celebration of shape and pattern,
them. Often hailed as one of the most important British printmakers and a masterclass in curve, dot and line. Roy’s 50 Birds project is a wonder
Julian Francis Collection, image © Estate of Gertrude Hermes

of the 20th century, “she enjoyed exploring a subject in more than to behold – echoing the birds’ forms, feathers and beaks using geometric
one medium and there are direct links between some of her prints shapes is no mean feat and his often ‘less-is-more’ design aesthetic makes
and sculptural forms,” says Steve. A highlight is her detailed wood these winged wonders a real treat to take in. Both artists enjoy ‘designing
engraving Undercurrents (pictured) in which she celebrates water and whilst building and printing’ – an iterative approach that often leads
the joys of swimming but, as the title suggests, all may not be well. “At them to new ways of working and has created a hearty archive of ideas
the surface male and female figures are silhouetted against the light, and start-points for future prints.
but a third figure swims nearby, and down in the depths a predatory I N C E L E B R AT I O N O F S I L K S C R E E N
pike is lurking,” explains Gill. Add to this a wide selection of Monica Special attention has been given to the production of the book too. The
Poole’s nature-inspired wood engravings – some of which could be seen Screenprinting as a technique originated in China over a publication is designed on a grid using the LEGO point as its base unit,
as monochromatic inspiration for Angie Lewin’s characterful and lively thousand years ago – prints were made using stencils fixed it uses flatbook binding which means it lies flat on every page, and it has
meadow prints – and a raft of wonderful watercolours, drawings, on a screen stretched with a fine mesh that would have end papers with custom designed patterns by each of the artists. A work
linocuts and paintings by these artists, Parallel Lives is an inspiring been made from silk, or sometimes human hair. Although of (LEGO) art in itself.
dive into some very creative waters. materials and tools have developed over the years, many
artists still make their prints by hand, using a squeegee to www.tacit.studio/print-play-the-art-of-lego-letterpress/
www.pen-and-sword.co.uk/Parallel-Lives-Hardback/p/43190 push ink through a fine mesh. Recognisable largely for their
use of vibrant colour and bold clean graphics, screenprints
can also be subtle and complex.

© Jannie de Groot
Screenprint 2024, an exhibition showcasing the art and craft
L I V E A N D L E T DY E of screenprinting, takes in the whole gamut, ranging from
carefully crafted editions to more experimental approaches,
We’d all like to imagine that our workdays are varied, but not both on fabric and paper. In response to the excellent
many of us can say that we’ve spent time screenprinting a plastisol Linoprint 3 show in February last year, Bristol artist and
superhero suit for a Marvel production or repeat-printing long runs show organiser Simon Tozer had a lightbulb moment,
of fabric for a prestigious shop in London. Setting up her studio a planting the seed for his own show, this time a celebration
few years ago after moving from London to Bristol, Sarah Pasricha of silkscreen art.
of Bristol Dye & Prints specialises in dying, printing and costume
painting for film, TV and theatre productions. “I have two children Running from 9th to 21st February at Centrespace in
and needed to find a more sustainable way of working, as the film Bristol's Old City district, the show will feature work
industry is notoriously all consuming,” she explains. This is highly by over 30 outstanding artists from around the UK and
skilled work using a variety of techniques which can include hot beyond, most of whom have graced the pages of Pressing
foiling, devoré and large format screenprinting. Often working to Matters over the years. “The artists in the show have been
briefs from costumes designers, she creates original artwork and a brought together partly because they are amazing artists,
key element can be colour sampling and matching – echoing the but also because of the very different things they do with a
right age or genre for a production is trickier than you might think. squeegee and some ink,” notes Simon. “I’d love visitors to
experience the same thrill that the artist feels when they are
As you can imagine, she’s signed more non-disclosure agreements in the print room, pulling the first print, lifting the screen
than most of us, so she doesn’t have clearance to talk about the and seeing their work for the first time.”
printing projects she’s worked on this year, but with an archive full
of the likes of Star Wars, Lord of the Rings, Aquaman, Doctor Who, And with a roll call that includes such screenprint
Wednesday and Becoming Elizabeth, you can just imagine what luminaries as Andy Lovell, Angie Lewin, Carlos Hernandez,
she’s been keeping busy with lately, and the studio is starting to Clare Curtis, Gail Mason, Giuseppe D’innella, Jessie de
offer teaching and courses in textiles for costume, screenprinting Salis, Jonathan Lawes, Jonny Hannah, Katy Binks and
and natural dying. “We’re hoping to be able to secure funding to Stanley Donwood, it promises to be a breathtaking show.
provide some free places for people who wouldn't usually have an Get your travel plans in place and start saving your pennies.
opportunity to work in this industry,” says Sarah. We’ll see you there!

bristol_dye_and_print screenprint2024

4 5
D R E A M S , M E M O R I E S A N D F O L K TA L E S M O D E R N G OT H I C

Dividing her time between Auckland, New Zealand and the French Owing much to the thick lines and graphic nature of stained-
Pyrenees, printmaker Lauren Drescher has adapted her work to fit glass windows seen in churches and cathedrals the world
into a suitcase over the years. Having initially studied at The Cooper over, on first inspection Thibaut Bechecat's prints speak of
Union in New York City, and after two decades of travel, raising a an age gone by. Look closer though, and you'll see a much
family and working as a midwife, she embarked on a printmaking more modern approach echoed through his use of repeating
degree at Central St Martins in London and has dedicated herself to motifs, harsh crops of seemingly larger images and eye-catching
a full time art practice ever since. patterns. A master glassmaker for more than 15 years, he was
looking to create a bridge between printmaking and glass making
Primarily working with recycled, repurposed old paper and found and found linocut fitted his vision perfectly. "Stained glass is too
objects, she only discovered Tetra Pak as a material about a year ago. often only seen as an old-fashioned form of art, but my work
“I have a growing body of plates which are largely derived from, and with the patterns looks to highlight what was already modern in
inspired by, my sketchbook drawings,” explains Lauren. Her work, the Gothic lines," he explains. Teaching himself another artistic
with what some may consider a waste product, has become a rich technique has also been a useful way of breathing new life into
archive of images – a cast of characters with which she can explore his primary practice of working with glass. FROM A RIVER LANDSCAPE
her ideas and tell stories.
Drawing inspiration from medieval art, particularly the Gothic
It was her prize-winning entry for the Awagami AIMPE mini print As a keen sea kayaker and mountaineer, Fenneke Wolters-Sinke
period, Thibaut starts with motifs found in stained glass
show that caught our attention – a strange, but delicate Tetra Pak draws inspiration from the textures, patterns, colours, tones and
iconography, redrawing and repositioning parts of panels to
print of a winged, feathered character balanced on top of a ram was shapes of the great outdoors. “When I'm out there in the elements,
use as samples. One of the main attractions of printmaking for
our introduction to Lauren’s work and we were keen to see more and I feel a deep inner connection with myself and the world around
him is the ability to make multiples of his art. "Working with
hear about her process. “My entry into the Awagami show evolved me,” she says. “I want to hold on to that experience by expressing
glass you are more often than not focused on a single panel,
from this growing group of drawings. I’m drawn to the immediacy of this connection into a tangible piece of work, making that journey
whereas engraving and then printing lino plates allows me to
working with Tetra Pak – the line quality you can achieve with these again, this time guided purely by my intuition.” Specialising in
create compositions that I can replicate," he notes. Printed
drypoints resembles a copper plate etching, but they can be made contemporary artist’s books, papercuts and sculptures, she wants to
on vegetable and recycled hemp papers in small editions,
anywhere with a free and readily available resource,” she enthuses. show what can be achieved with such a simple yet effective material
his prints are brought to life at his workshop in Paris’s 19th
Collections appear to be something of a theme – vintage chairs, child – paper. Her interest in architecture, design and construction also
arrondissement – a 100sqm space with a huge display window
portraits and animals all add to the slightly surreal, gothic quality influences the way she approaches her projects: meticulous planning,
and high ceilings, not unlike a chapel or holy place, which
of her work. Just take the skeleton man riding a skeleton horse for research, sketching and, the fun part, creating prototypes.
provides the natural light he needs for his two creative practices.
example – what’s that all about? We love prints and illustrations that Currently working on more designs inspired by gothic stained
make us think and we’re enjoying spending time in Lauren’s world of Fenneke’s recent artist’s book collection Readings From A River
glass, but this time in colour, black and white remains his
dreams, memories and folktales. Landscape (pictured) has been shortlisted for the Scottish Landscape
favourite style. “I’m working on several collaborations with
Awards and is currently on show at the City Art Centre in
different printmakers to enrich my creativity. Linocut gives me
lauren.drescher Edinburgh. After a non-toxic printmaking residency at Zea Mays
the chance to express myself not only as a craftsman, but as an
Printmaking, Massachusetts, she made the books in her home studio
artist too,” he says.
in Aberdeenshire. Living close to the River Dee, the work explores
how water levels are varying in extreme ways on a regular basis,
thibautbechecat
causing more devastation to the landscape and for its inhabitants.
“The design of the prints is inspired by the variation of flow in
rivers and its tributaries due to climate change and the effect on
R E M A I N I N G FA I T H F U L
the surrounding landscape seen from a bird's eye view,” explains
Fenneke. Where drought is expressed with less/no ink, flooding
For around a decade, Parisian risography studio Fidèle Editions Through these picture books, they hope to generate a feeling of
appears as very dark ink, spilling over to the land. The clamshell
has been publishing a very specific type of visual arts book, with closeness and inspiration which so often comes with handmade
box contains three artist’s books made from
their output full to the brim of contemporary drawing, painting objects, containing a certain preciousness, while remaining accessible
two monotype collagraph prints which
and illustration. “Through the gentle burden of the word fidèle (or and non-exclusive.
were printed intaglio and relief
faithful), we have always wanted to find a way to remain consistent
simultaneously. Three different
in our choices,” says director Vincent Longhi. “Guided by a desire Finding their first home at the Grand Voisins (Big Neighbours)
bookbinding models have been
to create books that we would want to see in a bookstore, our hybrid space, Paris in 2017, they were attracted to this “place of exchanges
used to great effect – venetian
publications sit somewhere between zines and indie comic books.” and sociability,” Vincent explains. “Our print workshop was
blind, back-to-back
born out of sharing and collaboration in this place where mutual
accordion and portfolio
aid and bartering have been key for the dozens of occupants.
booklet.
We then naturally started offering our services as riso printers
in parallel to printing our editions.” The project was a greater
success than anticipated and two years later, they moved to a
sustainable workshop in the beautiful Villa du Lavoir, in the 10th
arrondissement of Paris. Currently consisting of four to six people –
depending on the time of year – they continue to collaborate with
graphic designers and publish emerging artists for their expanding
rota of editions, remaining faithful to their original plans.

To celebrate their tenth anniversary, Fidèle Editions has announced The Scottish Landscape
their new Confidens collection. Intended as true objects of Awards runs until the
inspiration highlighting the singular work of an artist, each book is 3rd March 2024.
made with special attention to detail. Printed in up to six colours,
with four-colour riso stickers applied and then hot stamped, these www.scottishartstrust.org/
are special publications indeed. landscape
studio_fidele fenfolio

7
 technique. “What is it that makes an image arrest the eye and live on LO O K L E F T
in our memory?” asks artist Emma Stibbon in the foreword. Largely
a pictorial publication, Rod and Merlyn answer her question through ‘The left’ (or left-wing politics as it is known in the UK), has a
a catalogue of ideas, prints and their ‘have you thought of this?’ rich history of using printmaking to disseminate its ideas and
approach. With chapters on such concepts as abstraction, boundaries, messages to the world, through posters, pamphlets, zines, comics
humour, motifs, symbolism, tradition and balance, there’s plenty to get and banners. Left Cultures is an annual publication celebrating
you started and keep you inspired. all forms of culture through a left-wing lens, bringing together
the past and present to honour the power and rich diversity of
Nicola Cliffe has had a lifelong love of printed textiles and her book storytelling within film, literature, music, art and poetry. These
Printing With Natural Dyes is an obvious celebration of this. A stories are accompanied by expressive artworks, often referencing
step-by-step guide, it looks to provide ideas and inspiration to get the left’s relationship with the radical act of printmaking. Publisher
you printing with natural dyes from home. With her studio, Madder Phil Wrigglesworth explains: “We aim to celebrate printmaking
Cutch & Co., she creates beautifully designed fabrics using sustainably cultures in two ways – firstly to ask printmakers working on the left
sourced plant dyes and pigments, and shares her own process and today to tell their stories or what inspired them; Esther McManus
that of others, including another artist Jacqui Symons (AKA Slow discusses Sheba: A Feminist Publisher in the 1980s and Jonny
Lane Studio) who has also featured in these pages. From setting up a Hannah talks about the punk band Crass. The second is to ask
workspace and caring for tools to manageable projects to try out and printmakers to visually respond to stories through printmaking,
important advice on foraging, this book provides a great platform such as Lucy Morris who illustrated her own story in linocut
to start working with natural dyes and giving them a go in your discussing strong female characters in Ken Loach films or Theresa
PRINTMAKERS IN PRINT own practice. Easton’s screenprinted image in response to her short story about
the miner’s strike, Gay’s the Word bookshop and the film Pride.”
Family-run publishers The Crowood Press Lastly, Catherine Ade and Steph Turnbull of Bristol’s collaborative
continue to work with specialists in the litho studio Lemonade Press bring you Lithography: An Artist’s As a quarterly publication, here at Pressing Matters, we know all
field of printmaking, many of whom have graced the pages of Guide. A classic ‘how to’ approach directs readers through the various about how time constraints can inform a magazine’s production,
Pressing Matters over the years, with a flurry of books arriving stages and equipment used in lithography, so be prepared to have so it’s great to see this yearly publication embrace and encourage
through our letterbox in the last month. It’s exciting to see our inky fingerprints on your studio copy of this book as you follow along the use of a variety of printmaking processes in its pages. Whilst
previously featured artists spreading their wings and sharing their with the instructions and navigate the terminology of the lithographic the making of the artwork can take longer to create, Left Cultures
expertise in three very different printmaking techniques. process in their insightful glossary. Useful chapters on graining the is happy taking a more cerebral approach. “We’re keen to give
surface of a litho stone, transfer methods and trying out alternative illustrators and makers much more time to play with the processes
Twenty Concepts in Woodblock Printing follows on from Rod drawing techniques – using the wonderfully named maniere noire, lo- AN ORCHESTRA OF INSTRUMENTS they enjoy working with, such as Liam Barrett’s riso prints inspired
Nelson and Merlyn Chesterman’s first book together. Where the shu wash and gum Arabic to name a few – will guide you through the by Jason Williamson’s story about the negative mental health effects
previous Making Woodblock Prints was more of a ‘how to’, this new dark art of lithography in all its forms. of manual work on industrial estates – they are beautiful and could
Born and raised in Pittsfield, Massachusetts, Cory Wasnewsky
publication is based on their teaching experiences and looks more at only have come to life by using printed layering,” notes Phil.
developed a love for music and art as a teenager. Attending
the ‘what’ and the ‘why’ of working in this unique and atmospheric www.crowood.com
Montserrat College of Art to study for a BFA in Book Arts, it was
on the recommendation of one of his professors that he sought www.leftcultures.com
an internship at Hatch Show Print in Nashville. Spending ten
weeks there that summer, he found the internship experience
both unique and wonderful, solidifying his love and passion
H O L D I N G O U T, H O L D I N G O N for letterpress. After graduation, Cory managed to secure a
permanent role at Hatch, where over the past decade he’s become
Hurricane Laura ravaged printmaker Christopher Latil’s home on the Louisiana their press mechanic, overseeing their retail product production,
Gulf Coast in the autumn of 2020. Taking inspiration from the power of the all the while printing posters for the likes of Elton John, Dolly
disaster, and as a way of understanding it, he began working on a series of burnt Parton and Wu-tang Clan.
monotypes as part of his MFA thesis, Holding Out, Holding On. “I feel like my
work speaks to people who have experienced natural tragedies and hardships Carving out time for projects of his own, Cory was keen to
on many different levels,” he reflects. His artwork started to reference the event, combine his dual interests of music and letterpress, so he started
becoming a way of coping with what had happened, echoing the changing Louisiana work on a unique series of prints around seven years ago. Entitled
landscape since and his personal experience of it. The series took Christopher over a Instrumental, he’s created a veritable orchestra of instruments
year to complete, moving through various permutations to get to the sculptural work using upside-down wood type and letterpress dingbats and
it culminated in. His two-dimensional works originally appeared in a standard other blocks. “I started it as a way to have an artistic outlet
frame before becoming components of wall-mounted steel sculptures. Christopher while working my full-time job,” says Cory. “I have a very
recalls the words of his professor, Matt Long, who inspired this shift: “If you want mechanically inclined mind and enjoy learning about all the little
to make work about disaster, then give us real disaster. But also give us a sense of parts that make up the whole. When I first started envisioning these
hope. Don’t make work all about the violent side to life because that doesn’t reflect prints, a lot of what I did was determining the key parts of each
who you are as an individual. Show the good that comes from hardship.” instrument – separating the parts that had to be on the print and
the elements that could be a little more abstracted.” The mandolin,
Creating monotypes without the help of a matrix, Christopher’s technique was for example, is modelled on bluegrass musician Bill Monroe's
to use solvent as a tool for mark-making, which ate away at the ink he splashed instrument and the accordion is taken from a classic Hohner
onto the plate in an uncontrollable way, then he burnt the edges of the paper model. Aiming to use a maximum of three layers or colours in
and layered them on top of one another to create a topographical effect. “It the prints, he makes initial sketches that emulate the blocks he’ll
reminded me of the intricate waterways of the Mississippi Delta and how erosion use and embraces the abstraction that occurs naturally. He’s also
is constantly creating new forms in the mud,” he notes. The use of flammable become happier challenging the fundamental rules of letterpress.
chemicals to burn the ink created patterns reminiscent of the oil and pollution “I had a realisation recently whilst laying out the book of all 58
that continues to stain the local waterways. “In a natural disaster we must be able instruments,” he muses, “I've grown in confidence through this
to hold out during the tough times it brings us,” he says of the new perspective on body of work, which in turn has allowed for more detailed and
change and embracing adversity that he has gained from working on the series. fun prints for the viewer.” Let the band play on!
“But we must also be able to hold on to the things that are lost.”
The Instrumental series is now available as a book from
chlatil www.threecheerspress.com threecheerspress

8 9
 With one foot in the future and one in
the past, Print Now – Riot Later's screenprinted
Words by
V I N C A
Photos courtesy of
P R I NT NOW
patterns on fabric and paper are inspired by the
P O W ER R I OT L ATE R mid-century greats, keeping sustainability
at the core of everything they do.

10 11
 © Adam Higton
I
n what they describe as “a rather uncharming industrial
area” of Maintal in Germany, Ellen Wagner and Axel
Rössler’s small workshop churns out metre after metre of
fabric, all screenprinted by hand. Collectively known as Print
Now – Riot Later, the two met 20 years ago in their favourite
pub in Frankfurt, bonding over a shared love of art and design,
and have been creating together ever since.

“When I met Axel in 2004, I was just about to drop out of my

art history studies because I wanted to go in a more practical
direction,” recalls Ellen. “I applied to the university for art
“We spent five years in
and design in Offenbach and was accepted straight away. It Arizona designing and printing
was clear that I wanted to work with illustration, but when I together until we returned to
discovered screenprinting I immediately said to myself, ‘what? Frankfurt to set up our next
I can translate my ideas with the most vibrant colours into an workshop there.”
edition? – this is the right thing for me, I don't need to look any
further for my favourite technique’.” A XEL R ÖSSLER

Axel had thought about studying art, but was put off by the
portfolio aspect, so instead pursued teaching and sociology of
language in the ‘90s, whilst learning early graphics software
in his spare time. “When my degree didn't lead to anything
tangible, I started working for friends who had just launched
a new label for electronic media,” he remembers. “That was a
crazy time – not many people had the software skills compared
to today. My main area was motion design and 3D and I
worked intensively in this field for around 15 years. When
Ellen started screenprinting at art college, I often assisted her
and was immediately hooked.”

Following Ellen’s graduation in 2014, the pair emigrated to

the USA and opened a screenprinting workshop in Arizona.
“We spent five years there designing and printing together
until we returned to Frankfurt to set up our next workshop
there,” says Axel. “So our shared passion for screenprinting has
accompanied us both for many years!” For the last two, they
have both been working as lecturers at Offenbach University of
Art and Design, where their classes in screenprinting have been

12 13
 “We do not see ourselves so
much in the classic textile market,
but rather in the artistic field.”
ELLE N WA G N E R

proving popular with students. “We get to support young everything starts analogue with pencil and paper or as a paper
people in realising their own print projects – a beautiful cut,” says Ellen. “I look for basic shapes, create variations, make
job that really fulfils us and also broadens our horizons,” patterns and sometimes leave the first drafts overnight. In
adds Axel. addition to abstract pattern creation, I like to work figuratively,
often with animals, which sometimes takes a little longer, then O N T H E TA B L E
The large-format fabric printing that Print Now – Riot Later the finished sketches are scanned and digitised.”
specialise in was born from Ellen and Axel’s experiences in the
US. “The initial spark came when we visited an exhibition in In contrast, Axel begins his designs on the computer. “My In a workshop measuring 7m x 7m, creating a printing
Tucson about Harwood Steiger and his ‘Fabrics of the West’,” drawing skills are really very limited,” he laughs. His go-to area big enough to accommodate rolls of fabric was
says Ellen. “Seeing the printed fabric panels from the 1950s software is After Effects and Cinema 4D – perhaps not what a challenge. To allow room to walk around it, and
and ‘60s was simply captivating and we knew immediately springs to mind for designing patterns, but using familiar tools taking into account the reach of their arms from
that we wanted to do that.” An intensive period of research and from his time as a motion designer helps with the layouts. “One either side (to pass the squeegee to one another while
organisation began, aquiring knowledge from publications, of the challenges is not letting the viewer recognise at first printing) the table couldn't be longer than 5.5 m or
online research, meticulous studies of photographs with glance where the pattern is repeated – just like with a good 1.8m wide. “We had to think carefully about how
magnifying glass in hand and a lot of conversations with wallpaper. Unfortunately, we rarely manage to create designs the large screens could be moved to the next position
experts, before starting to print samples in their new workshop together, but we have plenty of ideas,” he adds. “We trust each as precisely as possible at the repeat distance,” says
in Maintal. other and there are rarely long discussions or doubts, we agree Axel. “We solved this with specially designed metal
very quickly on what suits Print Now – Riot Later and what stoppers that we can move on a metal rail on the
“First of all, we had to learn how to handle the oversized does not.” long side of the table. The deviation is a maximum of
screens and, above all, understand the material and its different 1-2mm, but it is usually not visible at all and is very
properties,” says Axel. “We experimented and fiddled around Abstract patterns in repeat are printed on fabric by the metre, accurate for our screen size of 110 x 175cm.” “There
a lot at the beginning. It was a great joy when we were able to and anything scenic or figurative finds its way onto paper was no blueprint,” says Ellen. “It took a lot of research
hold the first successful prints in our hands.” They credit their – posters, postcards and so on. “We do not see ourselves so before we were able to make our own construction
theorectical knowledge and technical skill to self-organisation much in the classic textile market, but rather in the artistic and manufacture all the parts in-house. We also built
and creative action. And when it comes to devising patterns field,” says Ellen. The use of colour overlays is a natural our vacuum table for paper printing completely DIY,
for fabric, their designs are consciously non-delicate. “For me, choice for the pair – two overlapping semi-transparent mixed including drilling 1,600 holes!”
14 15
 “I usually tint primary colours with a touch of black to get a more vintage look.
Printing these complementary colours on top of each other always works great.”
E LLE N W A G N E R

colours result in a third, which reduces costs, especially for design and make formal reference to it in our work,” says
large formats, and they create a few test prints to ensure Axel. “The play with reduced geometric shapes and flowing,
mixed colours fit in well with the colour spectrum. organic curves is still appealing to us. If we are accused of
“I really like working with the classic primary and secondary being ‘retro’ we take it as a compliment.” The work of Susan
colours,” explains Ellen. “Blue, yellow, red and orange, green, and Alexander Girard, Ray Eames, Alvin Lustig, Maija Isola,
violet. I usually tint these colours with a touch of black to get Hannah Höch, Andy Warhol, Libuše Niklová, Harwood
a more vintage look. Printing these complementary colours Steiger, R.B. Kitaj, Celestino Piatti, Armin Hofmann and all
on top of each other always works great.” the other Swiss minimalists inform their designs, and music
plays its part as well. “We are completely open to everything
With an eye on sustainability, Print Now – Riot Later here too,” says Ellen. “Experimental or cheesy, quiet or loud.
aim for an environmentally friendly and fair production Minimal music is perfect for printing repeat patterns.”
process, working almost exclusively with a water-based
colour pigment system from Magnacolours which meets the As a new year starts for Print Now – Riot Later, hopefully
requirements of the Oeko-Tex and GOTS (Global Organic bringing with it some exhibition opportunities, Ellen is
Textile Standard) guidelines, and they source their textiles playing around with printing multiple colours on glass, and
from a German weaving mill that only uses organic cotton Axel’s attention is on a poster series based on digital collages
from its own production. Their efforts have infiltrated the he has been making. “This is a leap in a completely new
university print room too: “We immediately replaced the direction – thematically coherent, multi-coloured (up to 10),
completely outdated solvent-based ink system with water- filigree. It feels like a personal new start in design,” he says,
based inks,” says Axel. “In our eyes, this was long overdue.” and he has plans to print film stills on fabric panels – in large
This consideration for the future on the production side format, of course.
of things is teamed with an appreciation of the past in the
inspiration department. “We are great admirers of mid-century www.printnow-riotlater.com printnowriotlater

16 17
 Carving My W
ay

Words and photos courtesy of

VA LERIE LUETH

Inspired by outsider art and hardworking craftspeople of all

varieties, woodcut artist Valerie Lueth quietly carves her detailed
designs from her backyard printshop named Tugboat.

18 19
 “I’ve always been a maker, always been an artist. When I was younger, I made
things all the time. I built many forts – I was obsessed with them.”
V A LE R I E LU E T H

T
ucked in the bustling neighbourhood of Lawrenceville, taught a drawing class my freshman year and afterwards offered
Pittsburgh, my studio is a boxy outbuilding in the me the opportunity to work as an intern over the summer
backyard of my 1900s Victorian rowhouse. I have two for Frogman's Press & Workshop. I then spent the next five
lovely children, Ayla and Rudy, and the printshop out back years of my undergrad in the print department and taking
allows me to maximise my energy and time. The streets are workshops. I worked hard. I was always creating something.
narrow here, brick houses are clustered tight together and Countless artists, professors and students from all over the
line the hillsides up and down the banks of Allegheny River. country would funnel to USD annually for both the visiting
Business districts sit at both the top and bottom of my hill and artist programmes through the USD printshop and to take
views of the hills and bridges crossing the river sneak into sight workshops at Frogman's. When I left South Dakota, I was part
in new arrangements from every vantage. I make my woodcuts of a large and welcoming community of printmakers and set
in my cosy, quiet backyard shop and then walk down to the my intentions towards getting a press of my own so I could
Post Office to ship them out daily. My neighbourhood is highly continue producing my prints.
walkable and that's my preferred method of getting around.
Pittsburgh holds terrific mystique for me with its topography, Having lucked into a full-time position as a concept artist and
its history and its blue collar roots. game texturer at a local educational video game company after
graduation, I realised fairly quickly that sitting at a computer was
I’ve always been a maker, always been an artist. When I was not what I wanted to do with my life long-term, so I saved up my
younger, I made things all the time. I built many forts – I was earnings and bought the printshop equipment I needed (a press),
obsessed with them. I built sets for plays, performed in drama and later, a rowhouse in PA. Tugboat Printshop was founded
groups, organised our yearbooks and was the photographer upon moving to Pittsburgh in 2006 and I have been working
in charge of the darkroom at school. I just made all the time. full-time as a small business owner making woodcuts ever since.
Like many people I was guided to printmaking by a great
tutor. Lloyd Menard, my professor whilst studying for my Making is something I'm always doing – one action leads to
bachelor’s degree at the University of South Dakota (USD), another and projects just spin forth. I particularly love the

20 21
 “I choose to work with wood because I enjoy
looking at it, touching it, drawing upon it and
sculpting it to the shape I need. Carved woodblocks blessings for me and my tendency to work infinitely smaller
do look cool, but can become pretty messy and smaller. I reach a resolution for my designs faster knowing
after printing – the ink gets everywhere!” the constraint of the medium and my tools, which frees up my
mind for thinking about colour and other elements that might
V A LE R I E LU E T H be added to any particular print.

Colour can take me a while to perfect and different papers

lend different tones too. I make multiple blocks vs. reduction
prints because I like to test my options – I can't commit until
I see the possibilities. I like to take my time to find the right
blends and combos, but once I’m happy, I start printing away
and always feel confident in my decision. I have been known
to very painstakingly carve what I have drawn – drawing
directly onto the block, penning the whole drawing in before
puzzle that printmaking presents, the need to plan and carving – no transfers. I find that this maintains a liveliness
refine a matrix before being able to produce its multiples. I for me. My linework feels fresh, the direction of my imagery
need a variety of action, and printmaking provides that – I more fluid and it makes the carving and ink work all-in-all
may be sitting to draw and carve but then I'm up on my more interesting. With all of that in mind, drawing is often
feet, moving about to mix ink, tearing paper, etc. my longest step.

I love working alongside the wood, I love trees and paper

– natural hardy materials – I avoid plastic. I choose to
work with wood because I enjoy looking at it, touching
it, drawing upon it and sculpting it to the shape I need.
Carved woodblocks do look cool, but can become pretty
messy after printing – the ink gets everywhere! I keep all
of my blocks, they are useful in sharing my process with
others and for hanging alongside prints at exhibitions,
however, I don't really think of them as the art, more as
vehicles to bring my ideas to life. The multiple is always in
mind. I go through the effort of carving and perfecting my
images on woodblocks for the sake of the prints that will be
pulled from them.

A big reason why I gravitate towards woodblock (I started

out as an etcher) is its inherent graphic quality. Carved by
hand but showing no direct evidence of hand. Bold, but
able to hold very delicate marks. I love the fact that the
scale of smallest line is dictated by smallest tool and how
the woodgrain moves across the block. These limitations are

22 23
 “My nature is to work intricate,
delicate, deliberate.”
VA L ERI E L UET H

I use ¾” birch plywood and my press is 36” wide, so I'm

limited by that dimension, but can go pretty much any length
vertically – the biggest print I've made to date was 47" x 37".
Saying that, I tend to work pretty small, ultimately – my work
is not about being big, my nature is to work intricate, delicate,
deliberate. I don't want to be wasteful of paper, of material,
and I am conscious of my footprint. Certain images I commit
to larger scale because they need the space to relay the idea
in the print. Like, I wanted The Sun to be large, because it is
the momentous sun, but the latest print that I made, Little
Possum definitely didn't need to be big – it works really well
really small.

Nature seems to be where my head and heart gear towards

these days – I never attempt to make some kind of realistic
duplication of what I see, I’m more keen to capture the
sentiment experienced while I witness things, the links that
crackle forward. I stay open and follow the flow. Time is a huge
constraint on the quantity of print images I can produce per
year, so I do my best to make sure what I do lend my hand to
feels quality.

Right now, I have some prints to frame, prints to bag and some
fixes to my little tabletop display that I need to tinker together.
I love sharing what I do at fair-style environments and try to
make an effort to be in-person and out of the studio to do this a
few times per year. I've got some new drawings on woodblocks
and I'll likely be diving into another big colour work soon.
Stay tuned.

www.tugboatprintshop.com

24 25
 The
Legacy
Of A
Master
Printer

Say the names Henry Moore, Barbara Hepworth, Paula Rego or John Piper
and no doubt some of the greatest artworks of the 20th century spring to mind,
yet somewhere out of the spotlight was a quiet, masterful presence
guiding them through the complexities of lithographic printing.

M
aster printer Stanley Jones, who sadly died last he worked for over three decades. He was deeply interested
year aged 89, was a legend in the world of print. in the artist as an individual, their ideas and imagination,
His innovative spirit and technical prowess led and what they could bring to the studio. A visionary at
him to become one of the key figures in the revival and heart, he admired the likes of JMW Turner and Samuel
development of fine art printmaking in post-war Britain, Palmer and the mystical qualities in their work. He believed
largely through taking the helm of Curwen Studio (which in exploring the altered state of consciousness from which
he co-founded) for over 50 years. At Curwen, Stanley images are made and the power of the human imagination.
elevated the quality of printmaking with his experimental We would often speak on the phone and he would look
and personal approach, introducing the Parisian atelier at my work, encouraging me to keep going, leaving me
style of printing which he had learnt after winning a travel with ‘nuggets’ of wisdom to ponder over as I worked in
scholarship to Paris from the Slade in the 1950s. The printer my studio.
was for the first time working collaboratively with the
artist enabling them to execute highly skilled, innovative Often referred to as ‘the Godfather of Printmaking’,
lithographic work and realise their ideas in print. Now, at Stanley would take phone calls from previous students or
the Curwen Print Study Centre, his vast legacy lives on printers to help them with technical lithography problems,
through the archive and teaching facilities. even in his last years. His generosity knew no bounds
because he believed in the work and the sincerity behind
I was fortunate enough to spend time with Stanley over it. Vital to his ethos was that printing collaboratively is a
recent years and to hear him talk about his extraordinary means of communication to artists and the public and is
experiences with artists such as Henry Moore, with whom a way for us to find connection, visually and emotionally.

Images courtesy of C U R W E N P R I N T S T U D Y C E N T R E

Xxxx Xxx by Paula Rego Words by G R A C E H A I L S T O N E

27
 A B O V E : Ceri Richards • The Author’s Prologue • 1965 With an infinite hopefulness in the possibilities of print, Stanley prints, where he felt a permanent gallery should have been “One of the studio’s central values
R I G H T : Edward Bawden • The Queen’s Garden • 1983 invited artists to bring their ‘ideas and an open mind’ into the dedicated to the art of print, to be viewed and learned from on the was to recognise the individuality
studio. From the seed of an idea, he could fathom how to execute same level as the rest of the Tate collection. There was – and still of each artist, and Stanley certainly
it technically to the highest standard and guide the artist through, is to some extent among the public – a common misconception
with his infamous approach of ‘let’s give it a try’. He enjoyed the
reflected this in his working manner,
that printmaking is considered less of a fine art medium than
technical challenges brought by different people and would not say painting or sculpture.
coaxing out the best in everyone.”
rest until he found a solution. One of the studio’s central values
G RA CE HAILSTONE
was to recognise the individuality of each artist, and Stanley Over the course of his 70 year career, Stanley pushed forward,
certainly reflected this in his working manner, coaxing out the best pioneering developments too, including the creation of new
in everyone. printmaking papers suitable for lithography and Contone
printing in the 2000s, which allowed artists to draw on a grained
With Henry Moore he explored blind drawing and drawing film at home rather than on stone. Contone was developed by
with the opposite hand. To him, he introduced the idea of Stanley with a chemist and it opened the door for photographic
rotating and repeating the plate, changing the colour to form imagery to be incorporated into lithography work without
a supporting background for another print, to which he tonal separations.
recounted Henry saying: “I didn’t know you could do that.”
Although Moore had already mastered etching, with lithography In the Curwen Archive we hold a piece by Noel Myles,
and its colour possibilities his imagination ‘took flight’ Repairing the Mara Cu, that Stanley showed me the first time I
and with that his appetite for printmaking really began. visited the Curwen Studio, which he felt to be the best example of
Contone printing. From Prince Charles’s watermarked paper
Always advocating the infinite possibilities of printmaking, Stanley to Anthony Frost’s underwear and its particular shade of blue,
campaigned against the attitudes in the art world that he felt the archive at the Curwen Print Study Centre reflects the weird
regarded printmaking as the ‘Cinderella of the arts’. His feelings are and wonderful workings with artists making prints over the last
documented around the large Tate gift in the 1970s of contemporary half-century. Through diaries, annotations on proofs, letters,
Centre Director Lorraine Chitson with Stanley Jones, Gt Thurlow, 2022
28 29
 “Although Moore had already mastered etching, with
lithography and its colour possibilities his imagination ‘took flight’
and with that his appetite for printmaking really began.”
GRA CE HA I L ST ON E

ABOVE: Henry Moore • The Artist’s Hand V • 1979

LEFT: Paula Rego • The Unicorn Artist • 2008

30 31
 colour books and studio notebooks we have a rare insight into
the studio dealings with the artists who came to Curwen and
their relationship with the printers. The archive documents
how proofs progressed and went up and down the country for
approval and then back to the studio for printing.

Stanley held a long-time dream to establish a centre of

excellence for fine art printmaking, dating back to when the
decline of print facilities and digitisation was already risking
the loss of knowledge of mediums such as lithography.
Since its establishment in 2000, the Curwen ethics held
strong by Stanley have remained at the heart of the Print
Study Centre. It is a place where artists and students
can come to ‘let their imaginations roam freely’ and our
founder’s presence is very much felt. Stanley’s contribution
to printmaking in Britain is unmatched, as is his legacy
which continues today for future generations, encouraging
artists at the Print Study Centre to embrace a complete
print journey. Sadly, with much of the archive donated to
museums or sold over the years to continue the working
studio, we now have a responsibility to preserve what we
can of Stanley’s lifetime of work, while protecting the
teaching of printmaking methods under one roof. Through
the archive we see that despite the success of the output, it S TA N L E Y J O N E S M A S T E R P R I N T E R
“Stanley’s contribution to printmaking in Britain is unmatched, as is
has always been a struggle to stay open. In difficult times
his legacy which continues today for future generations, encouraging artists
now we face more challenges, but, as Stanley said to me One of the most influential printmakers in history, leading
at the Print Study Centre to embrace a complete print journey.” once, being an artist is 5% talent and 95% perseverance. a revival in fine art lithography in Britain and changing the
landscape for future generations of printmakers.
G RA C E H A I LST O N E
www.curwenprintstudy.co.uk curwenprintstudycentre
graciehailstone 1 9 5 4 - 6 Slade School of Fine Art, London

1 9 5 6 Travel scholarship to the Ecole de Beaux Arts,

Paris, later the same year joined the Atelier Patris as an
apprentice lithographer, meeting Alberto Giacometti,
Man Ray, Pierre Soulages

1 9 5 8 Persuaded by Robert Erskine to return to England

and set up the Curwen Studio, beginning in St. Ives, working
with artists including Barbara Hepworth, Patrick Heron
and Peter Lanyon. Curwen Studio establishes premises in
Plaistow, later moving in 1965 to Tottenham Court Road,
then again in the 1989 to Chilford Hall, Linton, Cambs.

1 9 5 8 - 1 9 9 8 Tutor in printmaking, Slade School

of Fine Art, London while also Managing Director of
the Curwen Studio

2 0 0 0 Established the Curwen Print Study Centre at

Chilford Hall adjacent to the Curwen Studio, after nine
years of planning and fundraising

2 0 0 9 Stanley is awarded an MBE for his services to

artists and lithography

2 0 2 2 Curwen Print Study Centre establishes bespoke

premises in Gt. Thurlow, Suffolk and continues Stanley’s
legacy through teaching and provision of world class
print facilities

ABOVE: Richard Deacon • Tomorrow • 1995 RIGHT: John Piper • Kilpeck, Herefordshire: The Norman South Door • 1964

32 33
 My prints are shaped by my surroundings – my garden, the
neighbourhood I live in and, more broadly, the small towns around
North America’s Great Lakes region. My core mission is to foster
Trevor Grabill’s bold and colourful woodcuts curiosity, both for myself and for my audience. Growing up in
may have an engaging graphic quality, but a place that most people wanted to get away from, I found that
they also serve to help them make sense boredom was spiritually dangerous and fascination was life-giving.
of the world and their place in it. With that in mind, I make pictures as a way to stay curious and
fascinated every day. Much of my work heavily features plants.
For me, they’re the perfect mix of strangeness and familiarity
– they are with us all the time but have lives so unlike our own.

In school, it seemed like the print department was where you ended up
if you were frustrated with the rules and conventions of other media.
I had a great teacher who prioritised helping students discover and
make their best work, rather than keeping us strictly in line with an
assignment. Those elements made for an environment that focused on
experimentation and persistence and that perception of printmaking
as inherently anarchic and open-ended has stuck with me.

I was first drawn to prints for the sake of expediency – it felt like
multiples were an important way to get a message out into the world
quickly. As I’ve become a more patient artist (and person), I’ve lost a
lot of that urgency, but the accessibility that comes from multiples
still feels important. Nowadays, I make relief prints almost exclusively.
I really love carving – I feel like it gives an image some time and
agency to be shaped by the world and grow up outside of my head. I
particularly enjoy working with wood – as a once-living form, it has
its own opinions about what shape it will take, which allows me to
sometimes be a collaborator in my own work.

flat_mountains
34 35
 “I particularly enjoy working with wood – as a once-living form,
it has its own opinions about what shape it will take.”
T REVOR GRA B I L L

 P
 re v i o us p ag e
( c lo c k wi s e fro m left )

M AY B E Y O U A R E T H E
M O U N TA I N O R M AY B E
IT'S ME;

LET NO FELLOW
WA N D E R E R B E A
STRANGER

 T h i s p ag e ( c lo c k w i s e from l ef t)

W H E N W I L L Y O U
F O L LOW T H E S WA M P
PAT H ? ;

G AT H E R I N G ;

I A M O N M Y WAY T O
YO U W I T H LOV E ;

THROUGH THE MORNING

36 37
 Words by
CA R L M I D D L ET O N
Carl Middleton catches up with fellow Letterpress Worker and
print comrade Mitsunobu Hosoyamada about what helps to
inform and drive his ongoing passion for letterpress.

Photos courtesy of
LET T ERPRESS
LET T ERS

38 39
 “Mitsu and his partner Aya run Letterpress Letters – a unique juxtaposition
of experimental letterpress, Risograph printing, great coffee, wonderful
pastries and a little graphic design thrown in the mix too.”
CA RL MI DDL ET ON

M
y first meeting with Mitsunobu Hosoyamada (Mitsu) The origins of Mitsu’s interest in letterpress began during a
was at Letterpress Workers (LPW) in 2019 – a short design commission (his real job – managing over 20 designers
artist residency taking place annually in Milan. He in his graphic design studio) which required him to attend a
(like me) has become welcomed into the LPW fraternity number of meetings in the USA. His open schedule afforded
and is currently promoting letterpress printing beyond its him a little time for sightseeing and the one place he was
traditional application, in both Japan and France. Mitsu and very curious to visit was Daniel Gardener Morris at The Arm
his partner Aya run Letterpress Letters a unique juxtaposition Letterpress in Brooklyn. From the outset of the visit, Mitsu
of experimental letterpress, Risograph printing, great coffee, became smitten with everything letterpress. There, he engrossed
wonderful pastries and a little graphic design thrown in the himself in letterpress for a solid week, visiting the studio every
mix too. day in between his work commitments. He returned to Japan
totally inspired with a burning desire to establish his own press.
Mitsu has one base in Tokyo, where he works from, and Thereafter the collection of type, presses and equipment began,
one in Paris, where he relaxes and has an ideal opportunity eventually after many an exhaustive expedition across Europe
to visit other letterpress studios in Europe whilst away from it has resulted in the establishment of his own, dedicated
his commercial responsibilities. The setup in central Tokyo is letterpress print studio.
sited over two buildings with a coffee shop and retail space
displaying and selling letterpress work at ground floor level of Mitsu was born in Japan and entered the traditional education
building one, and a dedicated letterpress workshop next door system there – three stages before university: elementary (six
in the basement of building two, with a contemporary graphic to 12), junior high (13 to 15) and high school (16 to 18).
design studio on the upper floors. Letterpress Letters is sited in
the centre of Shibuya City, about a ten minute walk from the
famous Shibuya Crossing. Despite being close to major stations
such as Shibuya and Shinjuku, Letterpress Letters is set in a
quiet residential area known for its creative community and
broad offer of independent businesses. It provides somewhat of
an oasis for passers-by, set within a village-like community in
the heart of Tokyo.

It’s very unusual to find mid-century modern inspired

letterpress prints in the centre of the digitally vibrant landscape
of Tokyo. Not printed in Japanese, but in English and French,
big, bold statement pieces qualifying that ‘Coffee is always a
good idea’ and ‘L’amour est ici’ (love is here) echo across the
walls of the coffee shop. Traditional letterpress workshops can
still be found in the city, but they do take some seeking out
as there are very few of them left. Once discovered they will
only provide customers with very formal work, business cards,
stationery, etc. This is culturally the only acceptable use of
letterpress in Japan, so Mitsu’s approach is quite ‘out there’,
being playful, experimental and bright. Colour, language,
material and shape all inform everything he does, coupled
with a love for the typeface Gill Sans (especially if it can be
found in large wood letters). Mitsu’s letterpress work strangely
resonates with an aesthetic found in swinging ‘60s London –
bright, expressive, playful and of course punctuated with the
reductive modern styling of Gill Sans.

40 41
 His first introduction to graphic design and typography
was during his early teens. Whilst at boarding school, “Tracking down equipment and type is a
he generated most, if not all the design work within the very difficult task – especially when the
school, producing posters, flyers and invitations for various language does not follow the same system
events punctuating the school year. Initial sketched layouts or the elements you are after are on
would be developed then accurately set out in pencil and
the other side of the planet.” CHAR AC TERFUL T YPE
finally coloured by hand using poster paint. By the end of
his high school career, he was the designated leader for the CA RL MI DDL ET ON
school’s art departments. The written form of Japanese is as far from written English
as it can possibly be. English primarily follows a system
Alongside his school design projects he worked with is a very difficult task and when you do find it, today the based around 26 letters (yes, upper and lower which makes
Letraset producing zines and music cassette covers. For price is not for the faint hearted. But, imagine trying to 52) and a few elements of punctuation (and numerals,
those not old enough to know, Letraset is a system of dry embark on the same endeavour where the language does not fractions, accents, ligatures, etc.) and it is written and read
transfer letters – an activity a huge proportion of teenagers follow the same system or the elements you are after are on from left to right, top to bottom. Japanese combines nearly
across the globe were also engaged with (me included). the other side of the planet. Luckily, Mitsu has unearthed 3,000 Chinese symbols within a framework of ten Japanese
Adopting a combination of Dymo tape (embossed letters a number of trusted suppliers who have helped furnish symbols. It can be written (and read) vertically from top
set on lines of self-adhesive tape), photocopying and him with some wonderful type and even now are regularly to bottom, with multiple columns of text read from right
Letraset as an assembly of graphic elements, (via cow gum expanding his growing collection. to left, and written horizontally left to right, with multiple
and glue sticks), similar to that of letterpress and of that rows progressing downward, as with standard English text.
time – all very analogue! Working with a combination Mitsu is one of a large number of the ‘cut and paste’ generation Mitsu has both English and Katakana type in his collection.
of both Japanese and English language has helped and who have gone on to train and work within different disciplines
informed his relationship with Roman letters alongside his of graphic design, latterly returning beyond their roots to the T HE CHI N ESE SYMBOLS
native Katakana and Hiragana. After high school Mitsu allure of the handmade and, like Mitsu and myself, specifically Katakana is a Japanese syllabary – one component of the
studied graphic design at university, specialising in editorial to letterpress printing. It’s slow, as minimal or complex as you Japanese writing system along with hiragana, kanji and in
design some years later, eventually setting up his own want it to be, it affords contemplative time and helps inform some cases the Latin script (known as rōmaji).
design business. contemporary digital design.
F I VE COL UMN S, TEN R OWS
One of the biggest issues with letterpress is that it cannot Thankfully it also has an expanding network of like-minded Kanji is one of the three scripts used in the Japanese
be purchased from the ‘corner shop’ – it has to be tracked people who, through a shared interest, have developed an language. Made up of Chinese characters, which were
down. The challenge brings out the collector/hunter international community – and long may it continue. first introduced to Japan in the 5th century from Korea.
gatherer within its enthusiasts. Tracking down equipment
(especially large wooden display type – Mitsu’s favourite) www.letterpressletters.com

42 43
 Words and photos courtesy of
H A N N AH GASK AR TH

u s
With her characterful collages, prints and drawings,

io Fo
Hannah Gaskarth embraces the wonkiness in everything

r l k
she makes, creating a charming world of folk and fun.

u
C

44 45
 Printmaking is the foundation of my collages too, helping me
to produce textures that I couldn’t otherwise create. I love the
faded and fuzzy texture of the printed patterns juxtaposed
with the sharp edge of cut paper. I’ll generally decide whether
a particular design will work best as a print or collage based
on my aims for the final image. If I’m after a simple graphic
shape, I’ll go for a print, whereas the collages are really all
about colour and contrast. I don’t always follow the plan
though – sometimes the process takes me in one direction
or the other, either because my plans just aren’t working or
because I get side-tracked by a new material or technique.
Plus prints often end up cut up and used in collages if they’ve
gone awry. It’s a cliché, but I do think that accidents often
lead to the best work.

I use a lot of simple imagery in my art, from animals to folk

art flowers to cloaked figures. In some ways, the subject
matter isn’t always that important; what I’m really after is
a strong shape. If a print works when viewed from across a
room (when you’re so far away you can’t tell what it is) then
I think it’s successful. Often too much detail detracts, so I’m
always reminding myself to keep it as simple as possible – I
“If I’m after a simple graphic think it’s this simplicity that creates a shared aesthetic across
all of my work, something I do try to be mindful of when
shape, I’ll go for a print, whereas
working with varying mediums.
the collages are really all about
colour and contrast.”
HA N N A H G A SKA RT H

I
began printmaking as something of an experiment – an
exercise in seeing how far enthusiasm and curiosity can
take you. I work from home without much specialised
equipment, my table and counter tops doubling up as a
studio. While this doesn’t exactly help me to keep a tidy
house, it does seem apt, as I use almost as many everyday
kitchen items when making my work as I do printmaking
tools. And I think my DIY approach has helped in some ways,
forcing me to be creative with both materials and techniques
in order to produce an image I’m happy with within the
constraints of my environment. It’s still my favourite part of
printmaking, thinking ‘I wonder what would happen if …’
or pondering the best way to get the effect I’m looking for.
These experiments are not always successful of course, but
they often lead to something interesting.

I primarily make relief prints using Tetra Pak packaging,

though I have experimented with lino, mount board and
cardboard too. There’s something a bit magical about taking
what would otherwise be a piece of rubbish and turning it
into art. The beauty of this technique is that all you need is
an empty carton, a craft knife, ink, paper, a roller, a wooden
spoon and you’re good to go. I love the inconsistencies, the
fuzziness and wonkiness that my technique produces. I spent
quite a while trying to make ‘good’ prints, and once I was
just about there I realised I preferred the ‘bad’ ones and had
to work to incorporate some of that character back in – such
is life, I guess.

46 47
 I haven’t had a formal art education. My mum is a talented That’s not to say that I don’t take this seriously. It’s an
drawer and painter, but didn’t have the opportunity to go to important part of my life and gives me a great deal of
art college as she would have liked. Instead she learnt and pleasure and satisfaction. I am ambitious, but only in
painted at home and I grew up admiring her talent and the sense of wanting to develop and make art that’s
wanting to emulate it, but I didn’t pursue art after school an improvement on what I’ve done before – I can
either, instead studying international politics and then be quite hard on myself in that respect. As for how
philosophy at university. I would frequently feel the itch and what I do is received by others, I do my best to have
long to get back into drawing, but I have struggled with self- no expectations. It’s a tricky business, I just hope to
doubt and ultimately that held me back for many years. It continue making and keep having the opportunity to
wasn't until the pandemic that I really got back into drawing show my work in some form.
regularly again and started experimenting with printmaking.
I think the inherent unpredictability of these techniques has
helped me to shrug off some of that angst and just go with the
flow. For every pleasant surprise there are ten disaster prints
and it certainly helps beat the perfectionist out of you.

As for influences, I tend to be inspired more by the man-made

than the natural world – the patterns and colours of vintage
ceramics, mid-century graphic design, children’s illustrations and
folk/outsider art. I really admire the prints of Naoko Matsubara
and the collages of Jockum Nordström, and I love the drawings
of Egon Schiele and Ben Shahn. I will for the rest of my days
try and fail to capture some of the charm of their drawings. sixdancinghamsters

“I guess there is a bit of a seam

of silliness running through my work
and I do try to capture a sense of narrative
and a sense of humour in what I do.”
H A N N A H G A SK A R T H

I do love life-drawing – the satisfaction of getting that clean

(and often meandering) line. Some of the best advice I’d had
recently was to consider drawing as an exercise in displaying
the capabilities and range of the materials, rather than focusing
on precisely representing the subject. A bold, energetic line adds
far more beauty to a drawing than studied caution. While I
do sometimes do longer, more considered drawing – recently
I’ve been enjoying working tonally in charcoal – I really only
consider this as practice, like a musician practising their scales.
What I really aim for is the perfect wobbly line and a bit
of silly wonkiness.

I guess there is a bit of a seam of silliness running through

my work and I do try to capture a sense of narrative and a
sense of humour in what I do. My Instagram handle is Six
Dancing Hamsters, a daft email address I used to have which
I resurrected when I was struggling to think of a unique
username on the spot. It was always going to be difficult to
come across as a serious artist after that! While I did intend
to change it to something a bit less ridiculous at a later date, I
think I’m stuck with it now and the slightly surreal childishness
does seem somehow appropriate.

48 49
 Words by
GEMMA
T RICKEY

Happy People Happy Paper

Printmaker Gemma Trickey
speaks of her love of lokta paper,
sharing a unique insight on how it’s
made and the people who make it
at Tej Handmade Paper in Nepal.

Photos courtesy of
D H A R M AR A J S I T A U L A
+ D R M ARK W A T S O N

50
 “Tej paper mill, named after Dharmaraj's father who began making
paper in the Jhapa region in 1992, employs about 50 people,
mostly families from the area who also live on site.”
GEMMA T RI CKEY

I
n the low-lying land at the foot of the Himalayas in the Nepali lokta was my choice of paper early on for relief
south east corner of Nepal, rows of frames line up like prints, before Frank and I were a thing – burnishing the
deckchairs on a beach. Each points south and contains back of the fine paper with a wooden spoon was, whilst
a sheet of creamy paper as it dries in the subtropical sun. laborious, the best way that I could obtain a print from
Nearby, more paper lies drying Japanese-style, spread my blocks. The grainless, deckle-edged paper gave a
out on thin zinc boards. Here in the lush countryside, beautiful finish. In the West the appeal of printmaking
Dharmaraj Sitaula, a second generation mill-owner at has risen hugely, with many printmakers being
Mechi Situala Handicraft Ltd, and his employees make empowered to find expression through kitchen table
Tej Handmade Paper. 5,000 miles away, in my studio printing with barens and smaller, more lightweight types
at the foot of the Mendip Hills and overlooking the of pressing equipment. The popularity of lightweight
Somerset levels, I remove an ivory sheet from its package lokta and fine washi papers that allow hand printing is
marked ‘KATHMANDHU.’ I place it on the print bed testament to the desire to make art uncompromisingly
of Frank, my press, cranking it underneath the roller and and without needing large items of expensive apparatus.
through to the other side. My own press is a DIY affair – a cold laminating machine
modified with a steel conveyor belt roller and a print bed
Back in lockdown, I was having trouble finding the made from plywood offcuts (full name Frankenstein T.
UK-sold lokta paper I’d been using, auditioning heavier Press). An ethos of making-do, reclaiming objects and
papers that I could now use with the acquisition of my using whatever is cheap and to hand removes a lot of the
new press. I’d come across a small company in Scotland barriers to creating new work.
taking orders on behalf of a Nepali paper maker and
decided to take a punt on 100 sheets. No small thing, but As time went on I was able to speak with Dharmaraj and
the paper that arrived was velvety, almost luminous, learn more about the mill and its practices. Tej paper
and had fewer inclusions of bark scraps than I'd mill, named after his father who began making paper
experienced with previous lokta. It was a heavier in the Jhapa region in 1992, employs about 50 people,
weight too, and worked well for both hand burnished mostly families from the area who also live on site.
and press printed work. I was overjoyed and sought During video calls I was able to see how daily life fits in
to buy more, but the company was no longer taking around production – children run about and play whilst
orders on the mill’s behalf. On a mission, I made contact parents plunge deckles into basins of pulped fibres, or
with Dharmaraj to see if I could buy from him directly, brush sheets to then be dried in the sun. “Namaste!” a
nervously sending a payment into the ether of the internet. little girl smiles shyly into the camera during one of our
A few weeks later, a package from Nepal arrived. calls. “It’s wonderful work making paper in this very

53
 “In a world of mass production and
worker exploitation, it’s gratifying to see
communities taking sustainability
into their own hands.”
GEMMA T RI CKEY

as the smooth surface that is so desirable for printmakers. The

process is a highly sustainable one; the coppiced daphne shrubs
regrow in around four years, and good use is made from waste
produced by the paper making process. “From the waste paper
we make thin candles,” Dharmaraj says, showing me the rope
incense candles used in Nepali society for worship, “and we use
the water that comes from washing and cooking the lokta as
fertiliser on our farm”.

Shortly after I began buying paper from Dharmaraj I was

contacted by Dr. Mark Watson, Head of Major Floras at the
Royal Botanic Garden Edinburgh, who had recently visited
Dharmaraj's mill during a field trip. Mark was impressed,
and was keen to help Nepali people working with native
plants. Lokta is made from the robust fibres of two shrubs
which grow in the Himalayan foothills – sethbaru (Daphne
bholua) and argeli (Edgeworthia gardneri). “The Japanese
buy the best quality argeli in Nepal and export it to Japan
for making banknotes and other fine paper,” Mark told me
(argeli is also known as mitsumata). He was intrigued by
the paper’s use in printing, and I explained that I found the
smooth texture and ideal weight of Dharmaraj's washi paper
old and traditional way”, says Dharmaraj, who has been managing to be well suited for printmaking. “One issue is trying to rise
the mill himself for nine years. “We are like a family; it makes me above the mass of ‘regular’ quality traditional lokta paper that
happy that I could provide many indigenous people with a good job is on the market, and have his paper recognised for the high
and educate their children through paper making.” Dharmaraj also grade that it is,” considered Mark. He referred to the difficulty
farms rice and sunflowers on his land, providing year round work for trading internationally due to strict capital controls imposed
his employees who benefit from equal pay, housing, free energy and by the Nepali government, including limited payment
education for their children. This reflects a progressive approach to gateways – so whilst international transactions are possible,
employment, marrying a craft steeped in heritage and antiquity with online transactions aren’t. One day Dharmaraj hopes to make
contemporary working practices. relationships with Western retailers and export his paper
overseas, allowing customers to buy smaller quantities locally
Handmade paper production has a significant history in Nepal. rather than large packs flying to single customers, further
Lokta, or daphne paper has long been prized for official and religious decreasing its carbon footprint.
documents as it is tough, long-lasting and has natural insect-repelling
properties. It has for centuries been used in bookbinding and for In a world of mass production and worker exploitation, it’s
decorative arts and crafts, with items ranging from prayer books to gratifying to see communities taking sustainability into their own
traditional medicine. Many rural regions have artisans who specialise hands. “Every day encourages me to make improvements to the
in paper manufacture, which supports local economies and contributes mill, which helps upgrade our paper work in a good environment,
to the country's rich tradition of handicrafts. The process of making giving long-term jobs to local people,'' says Dharmaraj. I feel a
traditional lokta paper involves harvesting daphne shrubs, growing at resonance between printmakers in the West and the makers at the
varying altitude levels in the Himalayan range, removing the outer Nepali mill, using our hands, owning the means of production
bark, soaking, then beating and boiling it to create a pulp. The pulp and working in a genre steeped in heritage – self-sufficiency in
is then spread onto wire frames and dried in the sun to produce the cottage industry. It is the resilience of small enterprises working
lightweight yet durable sheets. Dharmaraj makes traditional lokta largely without machinery that we can learn from, making a
paper at his mill, but also produces a much finer quality product sustainable product for a sustainable way of life.
using the Japanese washi method – introduced by Dharmaraj’s father
Tej. This gives greater control of the thickness of the paper, as well tejhandmadepaper gemmatrickeystudio

54 55
 Check out Viola Wang’s 100-day printmaking project, which is full of great ideas and experiments, at violawangstudio
56 57
 Photos courtesy of
ALIST AIR GO W

Alistair Gow muses on how each stage of his practice is key

in the creation of his painterly monotype etchings.

58
 “I am fascinated with things that present potential – blank spaces, billboards, pictures could go there? Why has the artist valued this object? How
has this been made? I am fascinated with things that present a
hanging on studio or gallery walls and, most recently, trees are recurring motifs.”
potential – blank spaces, billboards, pictures hanging on studio
A LI ST A I R G O W
or gallery walls and more recently trees are recurring motifs.

I was first drawn to images of blank billboards on a three-day

G
bus journey from Peru to Argentina. We travelled a long time
oing to art school (Glasgow School of Art) directly from Being based in Glasgow and working at GPS I am surrounded by through desert landscapes and occasionally there would be a
high school I wanted to be a painter and didn’t know people and art that influences me. The city has a beautiful range billboard, mostly blank, sometimes with faded advertisements.
much about printmaking. Over the first two years, we in its art world, or worlds, and this is ever-present in the print I loved the optimism of making a billboard in the middle of
had inductions into etching, screenprinting and lithography and studio where you will have recent graduates and people who have the desert; that someone thought it a useful way to communicate
I became hooked. The course was built around an independent just completed a weekend course working beside established artists something, despite the sparseness of people, is brilliant. Billboards
studio practice with teaching in the form of regular tutorials and with 30+ years’ experience and Turner Prize nominees and winners. are spaces of incredible potential that communicate visual ideas
critiques, this was brilliant for the conceptual element of art making Around the studio, especially the kitchen table, there will be talk – I see them in a similar way to art hanging in galleries or in print
but what attracted me so strongly to the printmaking workshop of visual art but also music, film, dance, theatre – everything. The media, be that commercial art, fine art and everything in between.
was the need to learn the craft and technique to realise your vision. city has a glorious mix of exhibitions in its institutions and artist-
I owe much to the incredible technicians, art school tutors and run spaces that cater for most every taste and is small enough to Increasingly, when deciding which print medium to use for an
high school teachers who put me on my current path. navigate easily. artwork, my focus is the surface of the ink on paper. Etching
brings an incredible range of texture and tone with a small
I received the Phillip Reeves Printmaking Prize for my degree show GPS is an open access workshop that also invites artists or is paid amount of sculpture of the paper; woodcut brings in the texture
that gave me materials and access to Glasgow Print Studio (GPS) by artists and galleries to make editions of prints and in my work of the material used and can squash thicker pools of ink onto
which made the transition from art school much gentler than it could as a printer it’s my job to work closely with them to realise their the paper; screenprint can cover paper in transparent luminous
have been. After a couple of years of using the workshop as a member, I vision. It’s a constant source of inspiration, as with each new artist colour with a delicious flatness. Most often I work in etching. I
started working for GPS, printing etchings freelance before becoming I am introduced to new ways of thinking and making – pushing have worked in it so much that the process of it has become how
a permanent member of staff in 2014 specialising in intaglio, relief at the possibilities of print always expands the technical vocabulary I construct images in other mediums from woodcut to drawing
and digital print. Now, I split my time between working for GPS, that both I and the workshop have at our disposal. I create artwork and painting. Pictures are constructed with lines, textures, areas
my own practice and being a parent to my daughter. which I hope invite questions: What is happening here? What of tone and layers of colour built up in steps to realise a whole.

60 61
 “Printing using colour inks is a magical
process and has always been important to
the work I make. Colour is transformative
and it can make or break an image.”
A L I ST A I R GOW

as, although made at different times, for me they are connected by

concept, colour and place. Each image came from my commute – the
billboards I cycle past on my way to work and the trees in Glasgow’s
Queens Park I pass on the nursery run. As I cycle to work or with my
daughter I repeatedly think (and daydream) about the possibilities in a
simple journey; what might a billboard or tree might mean to someone
else? Each of the four works have a similar wash of colours, prussian
blue, solferino and black being dominant with flashes of other colours
pushing the eye around the picture. I was shortlisted for the Boodle
Hatfield award at WCPF which is particularly exciting as previous
winners Sadie Tierny and Jake Garfield are great artists who work with
such ambition (scale and colour). It’s an honour to be in a group with
the other shortlisted artists.

At the same time as my work left for Woolwich, I had an exhibition called
Mostly Trees open at Glasgow Print Studio which presented six etchings,
two large monotypes and one reduction woodblock. I am currently in that
awkward moment after a show where I feel I should be editioning the
etchings but I’m also keen to make new things quickly so I don’t lose
momentum. I’m excited for 2024, there is much work to be done!

www.alistairgow.com

When I make an etching, I usually go through three stages.

Firstly, I begin with an image or an idea – sometimes this happens
quickly but more often pictures float around my head for weeks
and months. Second is getting involved in the craft of making
plates – etching is a very physical process (through hands and
chemistry) that has an incredible wealth of mark-making. Lastly,
once I’ve made the plates, comes the printing. It’s at this point
that, for me, the idea and the craft come together as I proof and
adjust the print. Printing using colour inks is a magical process
and has always been important to the work I make. Colour is
transformative and it can make or break an image.

The idea, the making and the printing involved in each print are
equally important.

I am moved by so many different artforms but always return to

painting. Current painter obsessions are Mamma Andersson,
Richard Diebenkorn, Mohammed Sami and Andrew Cranston
(I feel lucky to be working with Cranston at GPS currently). The
thing that draws me to these artists is an oddness, in imagery, view
and colour. As a printmaker I am trying to make paintings but
within the restrictions/limits each process imposes. Most people
(if they know what an etching is) will assume a drawn velvety
black and white print and it does this well. What excites me most
is using the medium to make painterly prints full of colour.

I was fortunate to get four of my prints into the recent Woolwich

Contemporary Print Fair – two images of billboards and two
of trees. It was great to have them shown in the same place

62 63
 P
rintmaker Megan Abel was born in New Zealand and moved to the UK 20 years
ago. After working as a graphic designer for 25 years, she got into lino printing
having missed the slow, manual side of creating things with her hands. “It’s the
antithesis to working digitally,” says Megan, “I love the flow-state that is involved when
carving a piece.” Self-taught and very much still in the exploratory phase of learning all
that is possible, she’s enjoying finding out how she wants to work in print.

“I do a lot of small prints as it allows me to quickly experiment with materials, technique,

style and colour,” she says of the form she finds freeing due to the speed at which she
can create a new piece. This desire for instant gratification may be a hangover from
“It’s the Megan’s work in a digital environment for so many years, where immediate visual
antithesis feedback was always available. Plus, working to a small scale can be useful given that her
to working studio space is the dining room of her London flat.
digitally. I love
the flow-state Inspired by the many hours she's spent outdoors all over the UK climbing, cycling
that is involved and hiking, Megan is currently working on a UK woodlands series, keen to not restrict
when carving herself to one style or format within the theme and instead embrace the ideas as they
a piece.” come to her, big or small.

M E G A N A B E L
www.iammeganabel.com
iammeganabel

NAM E: Megan Abel

B AS ED : London

T EC HNI Q U E: Linocut

64 65
 Artist and educator Annie Silverman
packed her bags for an inspiring return
trip to Havana, Cuba, taking with her paper,
inks, and her enthusiasm for collective
printmaking and shared experiences.

I
t’s 5:30am in late October and I am online at Logan Airport in Boston, checking in for
my flight to Cuba. “And what is your purpose in travelling to Cuba?” asks the masked Words by
American Airlines attendant at the check in desk. “Support for the Cuban people,” I ANNIE SILVERMAN

say – one of the 12 reasons that Americans at this point are allowed to go to Cuba. My bag
Photos by
weighs in at 49.5lbs, most of which is printmaking supplies (lots of Caligo ink and dish MARY SHERWO O D
soap) for our collaborative project with Cuban printmakers in Havana. BRO CK + KNEISYS
GO NZALEZ +
RUCHIKA MADAN
When I got the first email about The Paper Boat Flotilla travelling there in October, I
knew I had to be involved. 20 years ago, I’d had the chance to travel to Havana to visit a
collaborative printmaking exhibition and spent that week immersed in a world of print in
museums, exhibitions and visits to artists’ studios that totally propelled my own work in
new directions. The email was from Mary Sherwood Brock, an independent curator from
LA who has a knack for thinking up fantastic participatory printmaking projects. The idea
for The Paper Boat Flotilla originated in her call to support the arts and artists of Puerto
Rico after Hurricane Maria in 2019, which began as a portfolio project for Southern Graphics
Council’s conference that was to be in Puerto Rico in 2020. The Covid lockdown postponed
the latter until 2025, when Mary began organising new installations and the call for artists
to make unique double-sided prints that could be folded into boats for a ‘flotilla’.

Looking to create an installation that would be portable, three-dimensional and have

resonance and meaning, these double-sided prints on the theme of water seemed, in their
simplicity, a good way to proceed. Early collections of boats and prints were exhibited at
Self Help Graphics, LA and the Scoula Internazionale di Grafica in Venice, Italy
during the 2022 Biennale. To date there are 66 artists involved in the
project which has had four different installations, the most recent
being in Havana at the Latin Art Space Gallery at the Loft
Hotel in October 2023.

66 67
 The idea of bringing the Paper Boats Project to Havana
was hatched in February last year when Janette Brossard
– a fine printmaker and president of UNEAC (the Union
of Artists and Writers in Cuba) invited Mary to attend her
autumn solo exhibition. Mary suggested a collaboration
between American and Cuban printmakers. Janette helped
to organise this at the Taller Experimental de Grafica – the
oldest printmaking studio in Cuba. Astrid Martinez of Latin
Art Space was key to this and created a remarkably print-
infused schedule for our week in Havana which, along with
work at the Taller, included visits to the studios of the artists It was exciting to meet our seven Cuban collaborators and
we’d be working with on our visit. their studio technicians. They had carved blocks that were about
18” to 20” – some were wood, some were Masonite and others
When a project like this is ‘hatched’, there are so many were created by carved blocks that were nailed or glued together.
unknown variables to deal with. The idea was to create Some of the blocks were too big to be printed on the presses
two large boats in collaboration with Cuban printmakers, at the Taller, so they were inked up and printed on the floor
but I had no idea how this was really going to happen by strong young men doing push-ups and using lithography
in our three days of studio time. The American artists stones that were wrapped in packing tape. Their prints were
were asked to bring small, portable printing plates of any mostly black and white because they only have black ink.
type on the theme of water, also double-sided prints,
created at home, that could be folded into boats for the Our group of nine artists, all from different states in the US,
exhibition. Mary brought rolls of Japanese paper and large set to work inking Plexiglass in watery colours, trying to
pieces of Evolon (a type of fabric/paper good for a larger figure out what we were going to do with all of the disparate
structure). We also had with us a bunch of materials that plates and imagery. It was challenging to be in a new group
the Cuban artists had sent in a ‘wish list’, including many of people mostly unknown to each other and instantly begin
basic supplies such as permanent markers, tracing paper to work without an actual overall plan, however goodwill,
patience and a love of ink and process created a visually
“The idea was to create two large boats in and Xacto knives and blades. Materials are very hard to
come by, in large part due to the US embargo, and artists cooperative work vibe. The technicians and everyone were so
collaboration with Cuban printmakers, but helpful and even though most of us couldn’t speak Spanish,
I had no idea how this was really going to of the calibre that we were working with, artists who
get invited to teach and exhibit internationally, often nor they English, we communicated through the process of
happen in our three days of studio time.” printmaking and problem solving together.
have to buy paper and supplies when they are out
ANNIE S IL V E RM A N
of the country.
The following days saw us also printing by hand on the floor,
since the prints needed to be seen in totality to work out
where additional small plates and collage elements could be
added. Everyone contributed and two wonderful prints were
created. The initial idea was to print on both sides of the

CU BA N A R T I S T S

Yamilys Brito Jorge (Director of Taller Experimental

de Grafica) • Janette Brossard Duarte • Ibrahim
Miranda Ramos • Eduardo Roca Salazar (Choco)
Osmeivy Ortega Pacheco • Angel Ramirez Roque
• Norberto Marrero Pirez • Master Printers: Ian
March Gutierrez; Pedro Redonet • Technician
/ administrator: Rolando Rodrigues; Leonardo
Gonzalez Hernandez (Nene)

A M E R I CA N A R T I S T S

Judith Amdur • Mary Sherwood Brock • Andra

Broekelschen • Nancy Cusack • Julie Evanoff •
Katherine Freygang • Ruchika Madan •
Annie Silverman • J. Michael Walker

68 69
 “In Cuba things are not permitted
to be stated directly, so often symbols
and coded imagery are used.”
A N N I E SI LV E R MA N

large pieces of paper and have a Cuban side and an American

side, which would then be folded into boats, but it would be
impossible for the inks to dry in such a short period of time.
In the end, the pieces were exhibited at The Loft as long panels
with many little folded boats hanging nearby. Plans are now
afoot for sending printed small water-themed imagery to Mary
in LA, to finish and fold the long prints into boats, one which
TA LLER EX P ERI M EN TA L
will return to Cuba with Astrid Martinez when Latin Art
DE GRA FI C A
Space has a tour to the Havana Jazz Festival in late January,
2024. The other boat will be ready for The Paper Boat Flotilla’s
travels to SGC conference in Puerto Rico in 2025. I interviewed Yamilis Brito Jorge, the 9th Director of the Taller
and the first woman to hold that position, about the history of
On our last day in Havana, we visited a silk-screening class the Taller, and the selection process for the project. She said
at the San Alejandro Art School (Escuela Nacional D Bellas that the artists involved in the project were hand-picked by
Artes), which was the first art school started in the Americas in UNEAC and were more established artists with international The studio was founded as the International
1818. The students were older teens aged 17-19 and they were experiences in exhibitions and teaching. There are 120 Lithography Company in the 19th Century to make
signing their first silk-screened editions when we descended members of the Taller and there is a rigorous admissions labels for products like soap, perfume, chocolates
upon them. In Cuba things are not permitted to be stated process every three years – once you are a member, it is for life. and cigars – the tobacco industry in Cuba was of
directly, so often symbols and coded imagery are used. The Due to the scarcity of materials, when the jury is looking for great renown internationally and lithography printed
students spoke eloquently about their work, even though they members, they aim to have a diversity of techniques. cigar rings and labels became important protection
were nervous speaking in front of a crowd of Americanos. We against counterfeiters.
invited them to the opening of the Paper Boat Exhibition and
amazingly most of them came to the event with a couple of In 1949, aluminium printing plates replaced litho
teachers. Visiting these students and witnessing their passion stones for label production and the company closed.
for printmaking and our work at the show was a thrilling The presses stood idle, the building left empty and
surprise for me. The kids were amazed to be in the presence over time litho stones were pilfered for various
of such well known Cuban printmakers who were part of the reasons. Shortly after the Revolution, urban militia
project and came to the opening. It was aspirational to have this used the litho stones for target practice, with plans to
next generation of printmakers be there with all of us. melt down the presses for munitions.

This is about a printmaking project and not about politics, but In 1962, the Chilean poet Pablo Neruda was visiting
the opening up of relations between the US and Cuba that was Havana, when lithographer Jose Venturelli from the
begun by President Obama, after years of a harsh embargo of studio reached out to him about what was happening
goods and trade, was shut down and made even worse in the last to the litho stones and potential destruction of the
days of the Trump administration, when he enacted many laws presses. Neruda got in touch with Che Guevara,
then the Minister of Industry and the Director of
against Cuba. Even though Cuba was the only small country
the National Bank, and Che wrote a letter to stop
to create their own vaccine during the pandemic, the people
the damage and to open the studio for artists to use.
suffered much privation during Covid and continue to do so.
Many art schools opened during the Revolution and
Tourism is a major means of getting resources to the country
printmaking became a popular means of expression.
and I was inspired by the art, resourcefulness and ingenuity I
witnessed during my brief stay. I cannot wait to go back. yamilysbritojorge

abrazos.press studiosherwood_la

70 71
 When I was offered the opportunity to share a print I love there was a piece of work that
immediately came to mind. I currently share a studio space with my artist friend Jack
Beagley. A few months ago, I got to the studio as Jack was starting work on a new piece as
a birthday gift for his girlfriend. Jack’s best work seems to always begin this way – whether
it’s a birthday card or a hand embroidered cushion, his passion for making things is most
focused when he has the opportunity to share it directly with someone else. Jack is an
illustrator but also works in costume for TV and film and over the last few years has begun
incorporating techniques and processes he has built up through that work to present his
illustrations in new ways. He described this new piece to me as a picnic blanket, although
the idea of sitting on it, let alone eating or drinking on it, would seem mad to anyone who
had witnessed the weeks of work that went into it.
J AC K
Jack creates beautifully intricate and considered hand-painted scenes inspired by folklore B E AG L E Y
and mythology. This particular design focuses on a central image of Pan & Syrinx (Syrinx
being the wood nymph that gave Pan’s instrument its name). He had painted this
illustration a few years before and I always found there was something very captivating BORN
about the details of this image and its composition. I love the use of tone and the more 1992 • New Cross, South London,
delicate details of the shadows, particularly on the darkest areas such as the fur and the United Kingdom
hair. There’s also something very pleasing about the lightness of the Syrinx character’s
expression and demeanour in contrast to the focus on Pan’s face. The thing I’m most
drawn to, however, is the playful yin and yang-like composition of the characters. I like E D U C AT I O N
the fact that this subtle dance/struggle works either way round and that viewing it from Jack works as a textile artist for series
different angles can slightly alter the feel of image as a whole. As a result, it seems like this and film productions. He began his
was the perfect choice as the central focus for this new three-dimensional work. career in costumes for theatre shows in
the West End and moved into film as
Being familiar with Jack as an illustrator it was interesting watching his approach shift a breakdown artist. He shares a studio
more towards the design and craft side of his work. Coming from a design background space at Bainbridge Print Studio in
and having a fondness for handmade objects I think this is what I appreciate most about Vauxhall where he works on his own
this piece. Jack created the dyes himself, mixing inks and carefully testing everything to match illustrations and print work.
the original painted illustration. Each element of the blanket was then dyed, screenprinted and
stitched together before the entire piece was quilted. The finished blanket is about a metre and
BACKGROUND
a half squared. I feel it’s not always possible to fully get a sense of scale through a photograph
Jack completed his foundation course at
but seeing it in real life, there’s a real impact to Jack's work at this size. It’s clearly been a
the Camberwell School of Arts in 2011
labour of love and a testament to his consideration and patience as an artist and I'm very
and went on to study a BA in Illustration
much hoping Jack makes more work like this in the future.
at UWE between 2011 and 2014
jack_beagley

P R I N T D E TA I L S
Pan & Syrinx • Screenprint on fabric
Printed in 2023 by Jack Beagley
PA N & SY R I N X WILL MOWER
Artist | Designer | Printmaker
Size: 1.5m x 1.5m

by Jack Beagley will.mower

72 73
 Interview by J O H N C O E
Press portrait by B I L L C H A L M E R S

Working from her home studio and Fife Dunfermline Printmakers

Workshop, Nicola McInally uses colour, movement and chine collé to
create intriguing landscapes that are part real and part imagined.

I'm interested in whether the landscapes that visualised. This has continued to be a consideration
you create are based on real places? when I’m contemplating colours, figuring it out
Most are based on real landscapes or loosely on until I feel they chime. I feel it’s important to
places I have spent time, but because they are counterbalance the energetic lines in my work
from sketches or recalled from memory, they get with colour. Where I live is on high ground above
enough space from the real landscape to take on sea level, so we are lucky to witness the beautiful
their own persona. I grew up in a small town called skyscapes throughout the season. The constant
Tillicoultry in central Scotland and the backdrop exposure to the views has influenced the calming
to my youth was the ever-present Ochil Hills. The feel of my work. Colour is really important to
curvature of the hills quite often finds its way into me, as I’m sure it is to most artists, but I love how
my work. Prior to having a hiatus to have a family, certain combinations feel like music for the eyes.
my work was purely abstract. After returning to
the studio, I wanted to include more recognisable I love the mark-making you use in your etchings,
forms and I’m not sure if it was just being older or giving them a hypnotic quality – can you talk a little
becoming a mother, but I became more reflective about your drawing and composition process?
and lots of memories would seep into the long I like having directional mark-making in my work.
nights when feeding babies and I wanted to Sometimes I take the basis of my composition from
incorporate the feeling of these memories into when I’ve been out and about or from a memory
my work. I would like to delve further into. My mark-
making is free and intuitive, and I really go with
Your work uses a colourful, yet calm palette the direction of the memory of what I’m recalling
– can you tell us how you choose your colours? or looking at. My first language is British Sign
I’ve always been interested in synaesthesia and Language as my parents were Deaf, I’m hearing
how certain colours can evoke sounds in some but it was the first language I was exposed to at
people. A lot of my earlier work focused on sound home. When using sign language, the direction
as a theme, and how this would appear if it was of the hand movement is a consideration. The

74 75
 “I’m a bit of a chine collé addict
and enjoy trying out different
ways to add them to my prints.
I decided to try working with
watercolours on Chinese
calligraphy paper.”
N I C O LA MC I N A LLY

direction of the flow of artwork is really important to me

and I think the three-dimensional aspect of describing
places in BSL, which is a visual language, has been a huge
benefit to me.

Could you talk a little about your printmaking

practice and creative process?
Etching has always appealed to me, and I love the embossed
feel of the line work on a print. When I first started etching
regularly, I only worked with zinc plates so I could become
familiar with the etching process, but lately I have been
using a variety of surfaces for my plates. Because of this
I have focused on drypoint etching and appreciate the
immediacy this offers. I’m a bit of a chine collé addict and
enjoy trying out different ways to work on paper to then
add them to my prints.

For my early prints I worked with coloured acid free tissue see what the images creating the pattern are. I like that
paper, but once I started feeling the limitations in the the viewer is being prompted to get up close.
palette that was available, I decided to try working with
watercolours on Chinese calligraphy paper. It took a while What do you listen to while you work?
to get the technique right so it wasn’t too blotchy, but I I always have music on in the studio. When working out
now find the variety of subtle water marks on the paper compositions and colours I like to listen to layered music
really enhance the print. Recently I have been working on like Stereolab or anything by Stephen Malkmus – I’m a
the same plate for different editions. I’m really intrigued big fan! If an energy boost is required, then I might put
by how certain combinations work together by applying on a DJ mix like Kevin Saunderson’s X-Mix. I definitely
ink differently or not inking up certain parts of the plate think music has an impact on my work – it gets me in
and the use of chine collé within the process allows me to the zone and tunes me into what I’m working on. Also,
concentrate on that. The non-inked parts leave an embossed the elements of rhythm in my work are probably
area which adds a lovely textured effect. influenced by what I’m listening to in the studio.

Can you tell us some of your influences, be it in What are you working on at the moment and
printmaking, art or from wider culture? what’s on the horizon for you?
Eva Hesse is probably one of my biggest artistic influences. After seeing the Strawberry Moon last summer, I
The combination of 2D and 3D works, the variety of materials became fascinated with the moon’s cycles and how this
used and the placement of her work are fascinating. Repetition affects its colour and size in relation to the surrounding
was important to her artwork, and I love the effect of its use. landscape, and I’m currently finishing off a series of
My favourite piece is Repetition Nineteen III. The fibreglass etched prints based on the view from my garden in
repeated forms on the floor each look like they are their own Dunfermline at night, looking out to the Pentland
entities and seem to be engaging with each other in some Hills. In February one of my prints will be exhibited
way. The movement, transparency of the forms and how they at Visual Arts Scotland’s Centenary Show at the Royal
interact really appeals to me. Ellen Gallagher is another visual Scottish Academy in Edinburgh, and more generally,
artist I really admire. I was delighted to see her work as part I’m going to concentrate on developing a large body of
of the Seven Rooms and a Garden exhibition when visiting work as I would like to have a solo show in the next
the Moderna Museet in Stockholm in October. Her work year or two.
is so instantly recognisable at a distance and often features
repeat patterns, but it isn’t until you look closer that you can nicolaamcinally

76 77
 ISSUE 25 PRINT
CHALLENGE WINNER
PAUL
GARDINER

A massive thanks to all of the artists who

contributed to our latest print challenge.

We liked the build up of layers, tones and

colours in Paul's Allsorts linocut print. The
grainy look of the highlights and shadows
give it a slightly nostalgic quality that we love.

Hey Paul, can you tell us where you are based

and where you print from?
I’m based in Birmingham, UK, where I’ve lived for about 20
years. I print from my little office/studio space at home. A long
desk allows me to have a Mac setup on the one end (mainly for design. I do tend to over-plan my prints, especially with
my day job as a graphic designer) leaving the other for all my reduction, so I know exactly where the highlights and shadows
printmaking stuff. I’ve got an A3 Woodzilla press which tends will be from the start, helping to draw out the forms from the
to get placed on the floor when printing as I quickly run out flat blocks of colour. I’ll often play around with Procreate on my
of desk space. iPad to work out colour options and how they can potentially
interact with each other. Whilst this can be useful, the shift from
Can you tell us a little about the technique digital to print will create its own opportunities or challenges
that you used for the print? and I’ll always test each new layer of colour in relation to the
My Allsorts print is a reduction lino print using two plates. others before continuing. I enjoy this part of the process as it
Whilst printing and reducing the one (to create most of the introduces a little bit of spontaneity and pushes me out of my
image), I create a second plate registered to the first. This second planned comfort zone.
plate becomes the shadow layer, which is printed after the first
plate reduction is completed. Printed as a single layer, I use What are you working on at the moment
heavily extended ink and then reduce the opacity further by and what’s coming up for you?
blotting with newsprint. This is a technique I’ve been working After doing a wood engraving workshop in the summer,
on for several prints now, with varying levels of success. I’m keen to develop some skills in this area and see how it
can combine with my lino work. Despite dabbling in print
We loved your submission to the Black and Pink during various bits of my art education, I’ve only really been
challenge, especially highlights and shadows that printing for the last 18 months, so am not at the point where
you achieved in your print. Do you spend time sketching I’m either exhibiting or selling my work. Whilst this requires
out layers and trying our combinations before settling a whole lot of skills, time and energy beyond the bit I actually
on a design using two colours? enjoy, perhaps there will be a move to start doing both over the
I always start with pencil drawings in my sketchbook – working coming year.
ALLSORTS out form and composition. These can be full page or simple
by Paul Gardiner thumbnail sketches depending upon the complexity of the doodlepaul

78 79
 This time around we asked our Instagram
ISSUE 25 followers to work with the colours black
PRINT CHALLENGE and pink for our print challenge. Here's

SH OWCASE
a selection of our favourite entries.

GAL L E RY Thanks again for all of your wonderful

submissions:

#pressingmattersinsert25 marshellebroadwellartandcraft rozhowlingfineart for.illustrative.purposes

pressingmattersmag

neerscreenprints sherijeanhancock laurawestonart

johnbloorprintmaker clairemcvinnie _gera.mu_ attic_prints jacquieprints diekuerzingerin

ko_artprint bateyjac karensaaman j.griffiths67 rodnelsonwoodcuts johnapedder

80 81
 barbaralormans creatively_bridge stoffdoktor inkstainedtherapist gigisalij mariamollohanartist

laura_alice_print tanzeliondesigns papat.co karl_krook ximena_bianco prm.prtchy

slot_nutsu seijapequena sovi_art stegoseanus vlmeshackart gaby_spencer_art

82 83
 Where we choose to
create our work is an

© Lisa Stubbs
important part of the
creative process.

Three very different

printmakers share
their spaces and
how they inspire
their work.
85
 Mark Timmins
Raynes Park, London, United Kingdom

MARK_TIMMINS77

WHAT ATTRACTED YOU TO YOUR CURRENT WORKSPACE?

The feeling of calm, space and natural light. I don’t have a

studio space to work in, so I create most of my work in the
kitchen which I think is the next best thing. It’s the most
spacious room in the house and the quality of the light
is good to work under. I have natural daylight coming
in through a skylight and at night I have good overhead
lighting over the kitchen table where I work. I feel most at
ease in this room because I have more space to layout my
work and imagery, tools, etc. for creating. I feel that I’m able
to shut myself away there, especially later at night when my
family have gone to bed. This means I can have time to be
calm which helps to motivate me to do my art. The desk
is literally a rectangular kitchen table, so it’s a multi-
functional space.

DOES YOUR WORKSPACE INFLUENCE YOUR WORK?

Yes and no. I think someone’s workspace inevitably

influences their mood and creativity and therefore ability
to work, but I also think that my style would be similar
wherever I worked. I am lucky to have a direct, wide view
out to the garden, which gives me the mental head-space
to switch off, zone out and ease me into a creative mindset.
Ultimately, I think I could work anywhere and my work
would be the same. I naturally veer towards smaller work so
I’m not constrained by physical environment in the same
way other artists working on a larger scale or in different
mediums would be.

87
 Martin Kochany
Sale, Manchester, United Kingdom

MGKOCHANY

WHAT ATTRACTED YOU TO YOUR CURRENT WORKSPACE?

My current workspace is a converted privy at the back of our terraced

house with a window view of a quince tree and the neighbours’ back yard
beyond. Like many, I never intended working from home. However, the
pandemic caused a sort of internal exile when I was furloughed from
my job in a well-equipped printshop, with its unending to-do list in
service and celebration of a large community of printmakers. I initially
used the room as a home office with occasional printing – first hand
burnished wood engravings, then lino or woodcuts with a small lever
press. However, between lockdowns, and still to my own amazement,
I took on Honest (as in an honest repair of a broken press – I collect
broken orphaned presses and bring them back to life), which is a Kilmer
& Hughes Albion with a 22 x 33 inch bed, which was installed by Giles
Hovendon & Theo Miller of AMR Logan Press – somewhat of a ‘ship in
a bottle’ endeavour. Inside a space a little under nine feet square, and
12 feet from the back door, I can find myself once removed in a space
of my own making, a room too small for two.

DOES YOUR WORKSPACE INFLUENCE YOUR WORK?

The room might seem cramped but as I’ve discovered or rather, I’ve
finally acknowledged, I thrive in the ingenuity required of small private
spaces. The Albion operates with a wall-to-wall 20mm clearance, and
nothing (ink, block, coffee, roller, books, window, view) is beyond arm's
reach. The space limitations have caused me to choose one process –
relief printing. It has taken my entire working life to cease skipping to
the next process and stay focused. In conversation, the press and room
can be a stand-in, a substitute for where I don’t feel confident in going.
It’s a closet reason to be quiet, more so than the held-up virtues of
the day job or family. Ultimately, with this workshop, I’ve been able
to sidestep the expectation I’d unknowingly held of what ‘proper’
printmaking is – large, conspicuously crafted and successful. Instead
I’ve found a way of using print more provisionally, slyly asking more
of my love of print as my anxieties taper.

Photos by Omar Balaa • alabramo

89
 Lisa Stubbs
Slaithwaite, Yorkshire, United Kingdom

LISASTUBBS5

WHAT ATTRACTED YOU TO YOUR CURRENT WORKSPACE?

For a long time I worked in an open plan space in my home in the Yorkshire
Holme Valley. This was perfect whilst raising my three children, working
around school timetables and juggling all the unpredictability that comes with
being a working mum. During this time I became a member of West Yorkshire
Print Workshop, developing my printing skills with their wonderful workshops
and using their facilities to print my own artwork. But as my children became
more independent I felt I needed a creative space away from domestic
distraction (that would be a cool name for a band) and set up my own little
print studio. It was the need to separate the now blurred lines between home
and work life that attracted me to Globe Arts, a creative education hub with
artist studios in Slaithwaite nestled in the neighbouring Colne Valley. A studio
space became available with two large sash windows letting in lots of natural
light, a sink and a door to close – perfect! My own space away from homelife to
foster creativity and develop my printmaking. Moving in felt so exciting, a new
chapter and a positive step forward for my practice.

DOES YOUR WORKSPACE INFLUENCE YOUR WORK?

The 20 minute journey to my studio is so picturesque. Skirting alongside

the rolling hills of the Peak District, Saddleworth Moor and farmland until
I reach the traditional village of Slaithwaite, or 'Slawit' as it's known locally.
Driving over the hills I never tire of the bird's eye views of the valleys. This
landscape and its salt of the earth people have been my touchstone and a
subconscious theme running through my work past and present. My current
work Ova Roof Tops, best said in broad Yorkshire tones, illustrates the character
of the homes embedded in this landscape along with the birds that perch
on their stone roofs mulling over life below. Once I enter my studio and the
wonderful smell of printing ink hits me, my shoulders drop and I sigh – I'm in
my creative sanctuary, where time holds no meaning. I have purposely kept this
space computer free and left the business side of packing orders and paperwork
behind at home. This leaves my studio free to give me permission to play,
experiment and cultivate new ideas. My practice isn't linear but organic, with
play and curiosity at its heart, this is encouraged by the flexibility of my studio
space allowing techniques to cross pollinate. I'm so grateful for the solitude my
space allows me and the large chunks of quality time to go off on tangents and
explore new possibilities, something I never take for granted

Photos by Elaine Taylor • sunflowerof21

91
 B A S E D IN :
Amsterdam, Netherlands

T E C H N IQ U E :
Linocut

Motherhood
When I found out I was pregnant again, memories from my first
birth were suddenly at the front of my mind every day. So I started
carving the images I couldn't get out of my head.

M
y Motherhood series began accompanied by as an extremely personal project, but in sharing them I
morning sickness, fatigue and a really sweet have heard how many women relate to each and every
three-year-old chatting beside me. That's partly image and sometimes feel ‘seen' for the first time. Best
why the linos are so small, on blocks of 7.5cm x 10cm – a of all, they don't see self-portraits of me in the prints,
size that meant I could still get something done when but themselves.
there weren't many good hours left in a day.
A real inspiration along the way was reading Matrescence
The postcard format also felt right for sending myself by Lucy Jones, a memoir and critique of the institution
memories, difficult ones as well as beautiful ones I of motherhood in Western society. We live in a culture
wanted to set down before entering newborn land again. strong on 'enjoy every minute' messaging but weak on
Becoming a mum in 2020 was a time of such extremes actual support or acknowledgment of what round-the-
– Covid, isolation, illness, exhaustion, new life, intense clock caregiving takes. Until we live it, we are often clueless
closeness and a bubble outside of time on our Amsterdam about birth injuries, the near-madness of sleep deprivation,
houseboat. These linocuts are about all of it – the magic the anxiety around keeping a small human alive, alone, at
of seeing a child evolve, the overload, the intimacy, the home, and the ambivalence of missing your old identity
being stretched to all limits and the joyful bits too. yet doing 'the most important job in the world'.

I didn't have any particular expectations of these works The cultural silence around the parts of motherhood
but they turned out to be transformative. They have that aren't pastel-hued makes it all the harder to separate
eased the difficult memories (the most graphic of these absolutely loving your child from sometimes not loving
can be seen on my website) – they're not tight in my the experience of intensive motherhood. We don't talk
chest anymore, but on paper, outside of me. enough about the tough parts, or see them depicted, –
it's easy to feel alone with them. Sharing these images
An even more wonderful side effect has been hearing how felt like a small contribution towards turning
these linocuts connect with other women. It started out that around.

“I didn't have any particular expectations of these works

but they turned out to be transformative. They have
eased the most difficult memories – they're not tight in
my chest anymore, but on paper, outside of me.”
S O PHI E L EW I S O HN
The series continues at www.sophielewisohnart.com sophielewisohnart

92 93
R HEGE D GALLERY 8 DEC - 3 MAR

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 “I particularly enjoy working with
wood – as a once-living form, it has its own
opinions about what shape it will take.”
T R E V O R G R A B I LL

F E AT U R E D I N S I D E :
Megan Abel • Jack Beagley • Flat Mountains • Hannah Gaskarth
Alistair Gow • Stanley Jones • Martin Kochany • Letterpress Letters
Sophie Lewisohn • Issue 25 Print Challenge • Nicola McInally
Print Now–Riot Later • Annie Silverman • Lisa Stubbs • Tej Handmade Paper
Mark Timmins • Tugboat Printshop • Viola Wang