Ironbridge Fine Arts : Printmaking Competition 2025

Barn Hill

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Quarter Sheaf Quiver

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Devotion/Dependence

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Sixth Avenue

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Throne

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Life Among the Lotus

By karen fletcher M.Ed.

Linocut Print

h: 42 w: 38 d: 1 (cms).

Tropical wetlands are an important ecosystem in the Northern Territory. They host a wide diversity of flora and fauna that are sometimes found nowhere else. When we are quiet and still, we see an amazing array of plants, insects, birds and aquatic creatures that always surprise us and that vary with the seasons. Life Among the Lotus is the first print in a wetland series and includes a pair of Jacana among the Sacred Lotus flowers and leaves, Pig-nosed turtle, Barramundi, Freshwater Longtom and Banded Flutterer dragonfly. I enjoyed creating the scenes above and below the waterline to highlight that there is so much more happening in this ecosystem than we see with the naked eye. It is not until we still ourselves and settle into the environment that we can appreciate the wonders of what is happening there. Printed using Cranfield Caligo Phthalo Blue relief ink on deckle-edged Somerset Satin 250gsm paper. Print area is 30x30cm, paper size is 42 x 38cm.

£140

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Life Among the Lotus

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Montepulciano

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"Nuovi Boschi -Vittime carnefici "

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Tumbled

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Tutti Frutti

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L'arbre que no torna II

By aniol b

Woodcut, lithography and silkscreen

h: 37 w: 28 d: 1 (cms).

Made on Soft white Somerset satin paper, the printing elements used to produce this artwork are 3 woodcuts, 1 lithographic photoplate and 2 silkscreens: the number of printing runs is 6 and the number of colors is 9. The artwork was hand printed by the artist at the University of New Mexico (Albuquerque, United States), and it consists of a Variable Edition of 13 prints with slightly color differences between the prints.

£100

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L'arbre que no torna II

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We Are Stardust

By kate willows

Paper

h: 20 w: 20 d: 1 (cms).

Two people swirl around the universe with their dog. The title reflects that we are inextricably linked to the universe, our bodies being made of chemical elements forged in stars billions of years ago. Handprinted on Somerset Satin 300gsm. Image size 20x20cm, paper size 30x30cm.

£225

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We Are Stardust

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The Corvurattus

By kurdarius keyes

woodcut, woodblock

h: 14 w: 11 d: 1 (cms).

This work is part of my amalgam series, where the main character, The Amalgam Collector, conducts the combining of creatures. This creature is a combination a rat and a corvid.

£120

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The Corvurattus

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Anura's Grand Feast

By kurdarius keyes

woodcut, woodblock

h: 13 w: 19 d: 1 (cms).

Atop a pile of fly exoskeletons, the humanoid frog is depicted as a wizard, using magic to elongate his tongue to extreme lengths to capture the swarm of flies.

£250

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Anura's Grand Feast

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Beneath

By willow wells

2 Plate, 3 Color Etching and Aquatint.

h: 36 w: 49 d: 1 (cms).

£475

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Beneath

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Bottles

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Egret

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Mrs Ide's Chicken

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McMemento Mori

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Lapis I

By weronika siupka

etching

h: 10 w: 20 d: 1 (cms).

My favourite technique is etching. In 2023 I started working on a series of prints called “ws. XXI”. The name literally means - “on the matter” and the Roman numeral denotes the twenty-first century. It is also a meaningful game, as the letters (ws) form my initials. The series consists of mini matrix formats and the one I am presenting is part of it. In the ws. XXI series I use symbolism related to nature. The print “Lapis I” depicts a massive boulder on the shore of the ocean. In the realisation, I have lowered the horizon line in order to achieve the impression of dignity and monumentality of the depicted object. The form of the object is placed at the interface between light and darkness. Light, an important element in the construction of the composition, helps to build the three-dimensional illusion of the object, to bring out the epic features of the image and to build the illusion of the space of the representation in question.

£150

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Lapis I

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Alone with Others

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Salted Journey

By kristen nelson

Aquatint etching

h: 25 w: 19 d: 1 (cms).

Emerging from the smog, the boatman realizes that every journey holds the potential for beauty as well as the equal and opposite potential for polluting the earth.

£300

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Salted Journey

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Cat Kali Crusader

By candacee white

Woodcut

h: 40 w: 31 d: 1 (cms).

This woodcut features a mythical creature, the Cat Kali Crusader, in a scene with religious buildings from a variety of backgrounds. In the foreground, cats eat while baboons look on with hunger.

£150

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Cat Kali Crusader

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Monochrome confinement

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People Love Differently

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Hope

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Technically Me

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Devotions

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Hot Dog

By kurt stimmeder

Lithograph

h: 35 w: 46 d: 1 (cms).

Hot Dog Lithograph on 250g Excudit paper, 2025 I use lithography to translate my painterly ideas onto paper. I'm particularly interested in the subtle shifts that occur when viewing a subject through a different medium. Some steps in the lithographic process contrast with oil painting – and that’s precisely what makes it a tool for reflection. Hot Dog is part of a series that places hands at the center. They act as carriers of body language, emotion, and meaning. In this work, two identical hands hold a bright pink French bulldog – like a playful presentation, where object and gesture enter a tense visual dialogue. The scene feels like a visual pun or idiom that refuses to resolve itself – and that’s exactly where its appeal lies for me.

£990

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Hot Dog

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Pavement Nebula, Glasgow

By aisling smith

Etching with aquatint on zinc

h: 50 w: 42 d: 1 (cms).

This etching is printed on white Fabriano paper.

£200

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Pavement Nebula, Glasgow

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Let the wind blow

By jeannelise edelsten

Drypoint

h: 39 w: 49 d: 1 (cms).

Work done as part of a study of Daphne Du Maurier work

£225

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Let the wind blow

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‘Rout’

By Aisling McWilliamArt BA (Hons)

Wood engraving

h: 9 w: 9 d: 1 (cms).

I love the graphic nature of snails and other creatures in the garden, it really lends itself to wood engraving, so doing a group or ‘Rout’ seemed like a lovely way of expressing this, particularly with wood engraving as it’s so fine.

£170

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‘Rout’

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Above the Static

By rachel mentzer

Collagraph and chine collé

h: 28 w: 36 d: 1 (cms).

"Above the Static" is a collagraph print made from a carved and sealed cardboard plate, created using discarded packaging. I printed the image intaglio, pushing ink into the plate’s textured surface, then added layers of delicate mulberry paper through chine collé to introduce subtle color and atmosphere. This piece reflects my ongoing interest in the coexistence of nature and human-made structures. The silhouetted birds rise above tangled wires and poles, a moment of stillness and resilience amid visual noise. As a printmaker focused on sustainability, I use recycled materials not just for their texture, but to speak to the persistence of life in altered environments.

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Above the Static

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Forty Winks

By alison diamond

Etching and Aquatint

h: 38 w: 31 d: 1 (cms).

Etching and Aquatint on Zinc, printed on Somerset paper using Cranfield Etching inks

£330

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Forty Winks

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Shropshire Skies

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Breakup of sea ice

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Ice Berg

By marte hofsteenge

Etching with aquatint

h: 30 w: 21 d: 1 (cms).

This line and aquatint etching on zinc shows an iceberg drifting in the polar ocean. I use aquatint to highlight the contrast between the bright, light-catching surfaces of the ice and its shadowed sides, with the dark ocean and sky around it. Printed using oil inks on paper.

£150

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Ice Berg

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Endangered & Extinct - An Engravers Alphabet

By richard studer

Wood Engraving, Lemonwood, 145gsm Liber Charter Paper

h: 29 w: 29 d: 1 (cms).

This project is a celebration of the weird & the wonderful in the world around us. What began as a technical excercise in lettering and mark making (the engraver’s equivalent of a needlework sampler) quickly developed into what you see today. The subjects were chosen not on their aesthetics but on their quirkiness of character. From Pablo Escobar’s Hippos who thanks to a drug baron’s death are thriving on one continent and considered a pest on another to the ubiquitous Ginkgo Tree - extinct in the wild for nearly two centuries but saved by the monastery monks who recognised its beauty or the immortal Jellyfish who can retreat backwards in time to its juvenile polyp stage when conditions get tough. Evolution has been said to be driven not by the survival of the fittest but the survival of the least bad option - if so then we have this to thank for the quirkiness of nature’s sense of humour...

£435

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Endangered & Extinct - An Engravers Alphabet

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Trilho dos Pescadores #7

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Banjo in a Box

By sam halpenny BSc(Hons)

Soft ground etching with open bite.

h: 48 w: 34 d: 1 (cms).

This image is inspired by a concert I saw involving an American folk band performing with an Irish dance group where at one point, the entire troupe squeezed into a large wooden packing case, starting with the banjo player.

£350

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Banjo in a Box

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Sunlit

By kate o'neill

Reductive Lino Cut

h: 20 w: 25 d: 1 (cms).

£220

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Sunlit

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Bye-bye Snowball II

By zhong sun MA

Print on Somerset Velvet White 300 gsm, plate: Zn

h: 18 w: 13 d: 1 (cms).

Bye-bye Snowball is inspired by the British film of the same name. For me, it tells the story of a childhood companion who reappears later in life in the form of a ghost. I lived in an international community in Shanghai. Since primary school, my friends left one by one—first transferring schools, then going abroad. Their greyed-out profile pictures on social media gradually replaced their faces in my memory. In high school, I heard that my deskmate from primary school had passed away. I remembered him as a shy, melancholic boy. He once told me that his mother suffered from severe obsessive cleanliness, scrubbing her body repeatedly in the bathtub every day, and that his father had to pay for enormous water bills, leaving the family in poverty. Later, he too went abroad to study. I still don’t know whether that story was true, but I’ve always felt that their lives—his, and others who are still alive but have vanished without a trace—have dissipated like mist.

£150

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Bye-bye Snowball II

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Eros

By zhong sun MA

Ghost print on Somerset Velvet White 300 gsm, plate: Zn

h: 16 w: 18 d: 1 (cms).

Eros is part of my most recent print project In My Flat. It presents a series of bitter memories that took place in my apartment. I employ techniques such as overprinting, preserving the mistakes, and using the reflective qualities of materials in both the printmaking and display processes. These methods are meant to invite the viewer to experience the story through closely touch and peep. The narrative remains semi-open—intimate and resonant for some individuals, yet guarded by a transparent boundary that protects myself. Eros is a portrait of the lover—very intelligent, decent, masculine, yet also arrogant, extremely violent, and always silent like a wall.

£384.62

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Eros

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Le Cerisier

By Marie Laffitte

Relief printmaking and glued tree branches

h: 48 w: 48 d: 2 (cms).

Relief Reduction Print: 10-layer, 11-color linoleum block reduction print using Cranfield oil-based relief inks on 250gsm Somerset white paper. All colours were hand-mixed from primary hues at home, and each layer printed by hand. This print is inspired by one of my own photographs, part of a series documenting precocious flowering trees each spring. I use my camera looking almost vertically upward, recreating the perspective of my childhood self gazing into the sky, watching the wind move through the branches and scatter petals. The drawing was hand-drawn on tracing paper and transferred to the lino block using blue carbon paper, after which I began carving and printing layer by layer. The wood was collected after a winter storm in a forest near Lossiemouth, Scotland. I left the branches to dry, then selected pieces with a diameter that harmonised with the drawn branches on the lino, blending natural materials with the printed form.

£200

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Le Cerisier

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Close up to nature

By linda nevill

Eco print

h: 28 w: 22 d: 2 (cms).

This group of 4 Eco prints derives directly from plants found in the garden. I can feel them and smell them as I place them on the prepared paper. I aim to capture the fragility and beauty of nature with these micro studies.

£250

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Close up to nature

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Pomodori

By kate crisanti

Linocut Reduction

h: 30 w: 23 d: 1 (cms).

14-layer reduction print on 100% cotton paper

£225.00

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Pomodori

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Soak

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Two More Martyrs

By mark walley

Linocut

h: 41 w: 50 d: 1 (cms).

"Are Her Babies Martyrs" is one edition in a series of prints titled "Martyrs" which attempts to examine and illustrate the lies that governments and organized religion feed their followers and the overwhelming devastation those lies cause the individual.

£140

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Two More Martyrs

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Thou Shalt Have A Fishy

By fiona wallin

Silkscreen with Collagraph

h: 26 w: 20 d: 1 (cms).

Thou Shalt Have A Fishy is a mixed-media printed: a 3 layer screenprint - featuring a monoprinted layer of metallic inks - overlaid with a collagraph, printed from a plate made using carborundum and different tapes. It was inspired by a photograph taken on a fishing trip last Summer and the contrast between the beautiful, natural fish and the plastic bucket.

£280

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Thou Shalt Have A Fishy

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Dipper At Monsal Dale

By marisa straccia

Reduction linocut print on Somerset

h: 22 w: 16 d: 1 (cms).

A hand printed (I use a wooden spoon, not a press) reduction linocut print of a dipper I saw at Monsal Dale in Derbyshire, with the old railway viaduct in the background over the winding River Wye. I’m always inspired by my walks in nature. As we’re walking, I take photos and use these references in my preliminary sketches. We saw so many dippers, I originally wanted to put two in my composition, but there was too much detail to squeeze onto the size of the lino I had chosen to use. I then finesse the sketch on my iPad. This reduction has 6 colour layers and each colour layer gets made using the same block of lino. A beige to light blue gradient for the sky, then blue, grey, red, brown and black. I printed from the lightest colours to the darkest, destroying or reducing the lino as I go.

£200

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Dipper At Monsal Dale

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Blackbird and Fennel

By katie brent

Aquatint etching

h: 20 w: 20 d: 1 (cms).

This is a varied edition of 25 of the blackbird that came to our back door everyday for sultanas. He would often sit in the fennel.

£245.

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Blackbird and Fennel

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Lyme Regis vista

By katie brent

etching

h: 14 w: 19 d: 1 (cms).

This is a varied edition etching of the view of Charmouth from Lyme Regis beach.

£225.00

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Lyme Regis vista

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Jasper the Irish Terrier

By christina macdonald

Intaglio

h: 30 w: 37 d: 1 (cms).

A collagraph print made from removing layers of mountboard and etching marks and glue to create tone. Printed on Fabriano paper on an etching press. This print is from a series about Vulnerable Native Dog breeds. I wanted to capture the fragility of their existence and the sense they come from a bygone era. That they are have great presence but are sadly fading into obscurity.

£120

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Jasper the Irish Terrier

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green & pink

By helena meireles

ink

h: 30 w: 21 d: 1 (cms).

This collograph print explores the delicate balance between texture and color, using green and pink as central elements to evoke emotional resonance and visual tension. Each piece begins with layered materials—cardboard, fabric, string—carefully arranged to create intricate relief surfaces. Once sealed and inked, these matrices are printed smothly in greens and pinks. The result is a dialogue between nature and sentiment, structure and intuition. Green represents growth, vitality, and the organic world, while pink brings warmth, tenderness, and human emotion. Together, they form a chromatic language that speaks to memory, transformation, and inner landscapes. My process is tactile and intuitive, emphasizing the hand’s role in shaping meaning. Through this method, I aim to invite viewers into a sensory experience that is both intimate and abstract, where color and texture work together to tell silent, layered stories.

£160

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green & pink

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Mudlarking London - Thames Treasures on the Foreshore

By clare o hagan

inks made from iron found objects, frottage, found materials stencils, stamping

h: 25 w: 35 d: 1 (cms).

Monotype print with Thames mud ink, made using found objects mudlarked from the river’s edge.

£350

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Mudlarking London - Thames Treasures on the Foreshore

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Golden

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Crossin’ the Trinity

By wilson venables BA(hons)

Drypoint etching

h: 30 w: 42 d: 4 (cms).

£800

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Crossin’ the Trinity

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Laundry, Kings Cross

By Angus Stewart Stewart

Polymer Photogravure

h: 29 w: 21 d: 1 (cms).

Hand made polymer-photogravure print on Fabriano Rosaspina Bianco paper

£850

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Laundry, Kings Cross

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Les Puces, Paris

By Angus Stewart Stewart

Polymer Photogravure

h: 29 w: 42 d: 1 (cms).

Hand made polymer-photogravure print on Fabriano Rosaspina Bianco paper

£1000

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Les Puces, Paris

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Baker Street Underground Circle Line

By gary eite

lino

h: 3 w: 2 d: 1 (cms).

View of Baker Street Underground Circle Line Station, one of the oldest parts of the station with brick arches forming the structure

£200

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Baker Street Underground Circle Line

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Daydreams III.

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Dissolution

By péter öllinger

paper

h: 15 w: 15 d: 1 (cms).

The appearance of the organic surfaces in my works may evoke mysterious, sometimes mystical effects on the viewer. I am preoccupied with the momentary and at the same time with the permanent, the eternal. I perceive and try to trace the duality of this in the changes of light and shadows in space. For me, the respect of the stone is very important in lithography, because the image etched in the stone remains in the memory of the stone despite the sanding. This is why I am experimenting with the sedimentation.

£330

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Dissolution

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Dance

By péter öllinger

paper

h: 50 w: 35 d: 1 (cms).

The appearance of the organic surfaces in my works may evoke mysterious, sometimes mystical effects on the viewer. I am preoccupied with the momentary and at the same time with the permanent, the eternal. I perceive and try to trace the duality of this in the changes of light and shadows in space. For me, the respect of the stone is very important in lithography, because the image etched in the stone remains in the memory of the stone despite the sanding. This is why I am experimenting with the sedimentation.

£520

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Dance

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Cathy

By sophie desjardins

Etching and aquatint on Hahnemühle paper

h: 28 w: 25 d: 1 (cms).

Cathy never goes unnoticed. Her eyes hold a focused intensity that draws you in, not through provocation but because it’s simply part of who she is. She registers everything around her with a precision that can feel almost unsettling. The way she holds her head reveals a composed pride; she isn’t looking for admiration or affection, though she accepts them only when they are sincere. In this work, I sought to reflect a presence that is firm, clear, and unmistakably self-assured. Cathy reminds us that real strength lies in knowing who we are and staying faithful to ourselves without needing anyone’s approval.

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Cathy

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Leblanc

By sophie desjardins

Etching and aquatint on Hahnemühle paper

h: 25 w: 28 d: 1 (cms).

Leblanc brims with barely contained energy. Even in stillness, he seems ready to spring into motion. His ears stay alert, his eyes gleam with curiosity, and his mouth looks as if it might break into a grin at any moment. There’s something playful and unpredictable about him, as if the whole world is a game he’s always about to outwit. Rather than holding him still, I tried to let that momentum show: that flicker beneath the surface, that joyful tension in a being always on the verge of leaping forward. Leblanc makes you want to meet the world with boldness, lightness, and freedom all at once.

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Leblanc

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Léon

By sophie desjardins

Etching and aquatint on Hahnemühle paper

h: 38 w: 32 d: 1 (cms).

Léon stands tall, as he always does, in a stillness that speaks volumes. He needs no movement to leave an impression; his presence alone is enough. In this close-up, I chose to emphasize his gaze: steady, attentive, never evasive. Léon observes, but does not judge. He seems to carry the weight of time without ever losing the ability to meet the present moment fully. From him, I’ve learned to listen in silence, to trust in the quiet strength of patience, and to understand that some things reveal themselves only to those who wait.

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Léon

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Megalith VIII - Cairn Holy

By richard foster BA (Hons)

Drypoint Etching and Blind Embossing

h: 30 w: 40 d: 1 (cms).

The print explored the fascination of Neolithic people in the movements of the planets and stars through blind embossing, repeating cup and ring carvings on the monument, as constellations above the tomb

£300

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Megalith VIII - Cairn Holy

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Holme I

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Trikeri View

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Woodcock Pilots

By gary williams

Lino Print

h: 29 w: 19 d: 1 (cms).

This is four block lino print - one of which is a reduction block which was used to establish the mix of colours on the Woodcock. The tiny Goldcrest (on the Woodock's shoulder) has been hand coloured using oil based printing inks. It is based upon a folk tale I read earlier this year in Kevin Parr's book the Quiet Moon. I first produced a finished pencil drawing and used this to produce an ink line drawing which was used as a reference and register drawing for the plates. It is printed on Somerset Satin paper using a No.2 press and Ironbridge traditional inks. I've produced a strictly limited edition of 18 colour prints and 6 black and white prints (using plate no. 4 only).

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Woodcock Pilots

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These Yellow Days

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Sienna

By annabelle oppenheimer DipAD, ATC

mount board cut collagraph plate, with textured paper and carborundum

h: 33 w: 37 d: 1 (cms).

This collagraph was made following a walking holiday from Sienna to Florence. I made a lot of drawings early in the morning. I spent 3 days in Sienna before walking for 6 days to Florence where I spent another 4 days.

£180

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Sienna

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March Of The Camels

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New O ner

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Clovelly

By zoe buffery

Linocut - oil based inks on 250gsm acid-free printmaking paper

h: 25 w: 20 d: 1 (cms).

'Clovelly' is a 10-layer reduction linocut print, using approx 16 different mixed colours. It depicts the fishing village of Clovelly, in the winter, when there are fewer tourists and the village more solitary, nestled along the cliffs of North Devon. With tourist destinations like North Devon, the sunny, buzzy. vibrant sides are depicted and remembered frequently, but people forget that life for locals continues through the colder months. The aim with this print was to show both the solitude and the beauty of the quieter seasons.

£320

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Clovelly

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NO! NO! NO!

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Perfectly Imperfect

By harriet merry SWA

Aquatint on somerset velvet paper

h: 25 w: 20 d: 1 (cms).

Part of a series of etchings I am making from portraits from life drawing classes which embrace the quirks and unusual effects that can happen with.a zinc plate and how it can affect the portrait. A lot of these portraits have been unsuccessful!

£275

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Perfectly Imperfect

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Liminal

By zoë duncan

Spitbite and soft ground etching on zinc

h: 18 w: 20 d: 1 (cms).

A work that explores the sense of ghostliness that can exist in the minds of those deeply traumatised - with the idea of both those lost, and those remaining, presenting as ghosts.

£345

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Liminal

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Ghosts

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Damaged

By zoë duncan

Spitbite on pre-damaged zinc

h: 25 w: 17 d: 1 (cms).

Working directly onto a damaged plate, seeking to deliberately incorporate the random, the pre-lived life, the scars we all carry - int a new image of peaceful contemplation and solitude

£365

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Damaged

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SKETCH XI - NOTES

By elżbieta gibulska

Printmaing

h: 20 w: 20 d: 1 (cms).

"Sketch XI – Notes" is a work from the graphic series Passion – the love of creation. Densely interwoven lines and textures, reminiscent of tissue or matter in a state of chaos, are screenshots of reality superimposed on the world of imagination. The dynamic background, written in gestural, calligraphic script, evokes notes, thoughts, and records from beyond time. The work balances on the border between text and image, writing and imagination. Spiral lines and a layered structure create tension between control and impulse, between intellect and emotion. It is not only a visual medium but also a tool for introspection – the image becomes a materialization of an internal stream of consciousness.

£100

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SKETCH XI - NOTES

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Totem

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Land-Escape

By yashfa raza MA

Plate lithograph

h: 28 w: 20 d: 1 (cms).

This plate lithograph, made using tusche washes and printed full-bleed on A4, is part of a series exploring the emotional impact of space—both internal and external. I was drawn to the unpredictability of tusche, allowing the washes to move naturally across the plate and form organic, intuitive textures. The process felt meditative, and the resulting image—though not representational—evokes a dreamlike, floating landscape. It serves more as an emotional map than a literal one, capturing the in-between spaces I often inhabit in thought and memory. Printing without a border was intentional, suggesting the image continues beyond the page, expanding its sense of place. What I valued most was the balance of control and chance, and how the process became a quiet, reflective act. This work isn’t about a final outcome—it’s about the experience of making, of being present, and finding a moment of escape. Edition of 10.

£140

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Land-Escape

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Dreamer

By yashfa raza MA

Photopolymer etching on Fabriano

h: 20 w: 12 d: 1 (cms).

Dreamer is an A5 photopolymer etching, edition of 18, rooted in a deeply personal moment of layered memory. The image originates from a photograph I took at a shrine in Pakistan, where the gnarled texture of the tree held a quiet, spiritual weight. Though not visible in the image, there was a person sleeping beneath the tree—an everyday sight at such shrines, where rest and refuge are often found in sacred spaces. Later, in Bristol, I saw a homeless person asleep in a similar posture, and the memory of the shrine instantly surfaced. In that brief moment, the two places—so far apart in geography and time—collapsed into one. This print became a visual reflection of that dual presence, where personal memory and present experience intertwined. The etching’s textures echo both the bark of the tree and the contours of a resting figure, evoking a quiet, dreamlike state. Dreamer speaks to themes of displacement, remembrance, and the emotional connections we carry across spaces.

£140

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Dreamer

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Choppy Water 3

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Willow Blue

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Pretty in Pink?

By davey podmore

Lino

h: 21 w: 48 d: 3 (cms).

The artwork was inspired by news coverage of the wildfires tearing through Los Angeles. Suddenly, climate change was no longer a distant concept—it was thrust into our lives through harrowing images of charred homes and devastated landscapes. What struck me most was the surreal sight of a vivid pink fire retardant blanketing the scorched terrain, adding an eerie beauty to the destruction. I titled the piece Pretty in Pink?—a nod to the film industry—and as a final gesture, I scorched the artwork itself, as though it had barely survived the flames.

£250.00

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Pretty in Pink?

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Lines of Memory

By Clare Sherwen BA(Hons)

Etching and Collagraph

h: 12 w: 10 d: 1 (cms).

£200

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Lines of Memory

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Abinger Roughs

By corinne mangan

Photopolymer Etching

h: 21 w: 30 d: 1 (cms).

The image was first created on True Grain to capture the drawn and painted mark; then the image was exposed onto the photopolymer plate before inking up in the traditional way with Hawthorn Stay Open Ink on Somerset Satin 250gsm.

£180

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Abinger Roughs

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Overlooked

By corinne mangan

Photopolymer Etching

h: 30 w: 21 d: 1 (cms).

The image was created by picking wild plants, pressing and drying them, then inking them up individually before printing them on to True Grain. Additional washes and marks made onto the substrate using Indian Ink. The image was then exposed onto a photopolymer plate and inked up in the traditional way by hand using three different Hawthorn Stay Open Inks and printed on Somerset Satin 250gsm.

£180

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Overlooked

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Fragmented Memory II

By fran farrar

Two Plate Copper Etching on Somerset

h: 37 w: 29 d: 1 (cms).

The ‘Fragmented Memory’ series comprises two-plate copper etchings that aim to record the intricate nature of memory storage within an individual. As time elapses and our minds accumulate and recall an ever-increasing number of memories, certain memories undergo fragmentation, division, and at times, become so familiar that they undergo alterations. The symbol used in this series holds a profound significance, having accompanied me for decades and is used to describe a specific point in time both emotionally and geographically. This stream of work continues to absorb me as I take it making still further within my etching practice.

£295

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Fragmented Memory II

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Safe

By jayati kaushik MA

Drypoint with a single needle

h: 45 w: 45 d: 1 (cms).

"Safe" is a drypoint print made using a single diamond-point needle over a period of two months. The work is an ode to my father’s shirt, an object that, for me, represents protection, memory, and quiet love. In my practice, I explore how everyday belongings carry the emotional weight of care, and how they become symbols of strength and grounding. This shirt, worn and familiar, holds the kind of safety that doesn’t need words, the kind we return to when the world feels uncertain. Through the slow, intentional act of mark-making, I attempt to preserve not just the image, but the feeling of being held. Time, in this work, is both material and metaphor, allowing emotion to settle, and memory to become tangible.

£6249.26

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Safe

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The Search

By jayati kaushik MA

Drypoint with a single needle

h: 49 w: 43 d: 1 (cms).

"The Search" is a drypoint print created by engraving a fibre sheet with a diamond-point needle, then printing it by hand using a letterpress. The process took over 4 months, with 10-hour workdays. The scene captures a quiet hillside house, almost hidden in dense foliage, with a tiny bird perched on the window ledge. This bird becomes a symbol of pause, safety, and feminine strength, evoking a sense of journey and inner reflection. The winding road below mirrors the emotional paths we take in search of belonging. Drawing from memories of home, the work explores the need for sanctuary and the quiet resilience women carry. Every mark is intentional - an act of care, effort, and deep observation.

£7703.73

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The Search

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Then IV

By cleo wilkinson

Mezzotint Print on paper

h: 20 w: 20 d: 1 (cms).

I try to emphasize the singularity and silence of a form - what is missing in the shadows provides the greatest potential for me . I love nursing the life of an image out of its pitch black womb into hope - in the form of light – the process has a primordial spiritual magic. The Mezzotint Print technique and tools have largely remained unchanged for the last 300 years .The process achieves tonality by roughening the metal plate with a metal tool, a rocker. The small teeth of the rocker create tiny burrs that hold ink during the printing process. The rocked areas that are left will produce a rich black print, areas that have been burnished (knocking the burrs down) will hold less ink, producing lighter values. This process produces an image with a high level of tonal richness.

£400

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Then IV

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Dabberlocks 2

By Portia Knight

Cameraless polymer photogravure

h: 14 w: 11 d: 1 (cms).

‘Dabberlocks 2’ is a cameraless photogravure etching of seaweed, Alaria esculenta.

£185

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Dabberlocks 2

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Tiger's Nest, Bhutan

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Brigham Rocks

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Preform

By yu sun

Etched zinc plate rotational print on somerset

h: 46 w: 46 d: 1 (cms).

This print was made by repeatedly rotating and printing the same etched zinc plate. Through layered impressions, a circular form emerges from the accumulation of linear traces. Rather than aiming for precision, the work embraces subtle shifts, pressure variation, and surface response—allowing the image to unfold through repetition and quiet deviation. No drawing was added between layers; the composition arises purely from print-based interaction.

£550

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Preform

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Spent Flame

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Variable Shoreline #15

By yu sun

Set of etched plate print on Japanese paper

h: 27 w: 21 d: 1 (cms).

Part of Variable Shoreline, a series grounded in the material process of printmaking. This work layers photographic etching with solid fields of tone, allowing image to emerge through surface response and ink behaviour rather than composition. The contrast between landscape and obstruction reflects a process-led approach—where visibility, pressure, and registration remain open to change.

£500

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Variable Shoreline #15

Public Choice Voting

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Please tick if you wish to be contacted about future public voting or open exhibitions.

Please note: Your details will not be shared and are only used to provide a fair and accurate tally of unique votes.

You may vote only once. If we suspect illegal voting or use of false email addresses then we reserve the right to disqualify votes and artists from the voting system. We randomly check the validity of email addresses, so if we contact you please reply to confirm your vote.

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