Ironbridge Fine Arts : Printmaking Competition 2026

‘Crowded Inside’

By Aisling McWilliamArt

Wood engraving

h: 35 w: 28 d: 1 (cms).

My wood engraving of snails is an exploration of anxiety as a physical state, one’s thoughts and feelings looping inward, curling, tightening, swirling slowly and steadily, inexorably gathering weight and pressure. The spiralling snails are to suggest a body carrying more than it can hold, suspended in a black, open space that evokes uncertain dreams and the feeling of being slightly untethered in the dark.

£195

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‘Crowded Inside’

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Somewhere I Almost Stayed

By kristen nelson

Aquatint etching

h: 20 w: 30 d: 1 (cms).

A sillhouette of a person standing among the outline of a city that used to be home almost as if they lingered too long in a place they were only meant to pass through showing the tension between presence and absence.

£200

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Somewhere I Almost Stayed

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The Night Let Me Pass

By kristen nelson

Aquatint etching

h: 20 w: 15 d: 1 (cms).

A solitary figure walks through a city guided by the light from a low hanging moon ahead. The light of the moon is reflected on the wet pavement and the figure moves ahead through the darkness effortlessly. The night welcomes her as if she’s an old friend.

£170

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The Night Let Me Pass

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Between the Shore and Sky

By kristen nelson

Aquatint etching

h: 20 w: 30 d: 1 (cms).

A figure rows along a familiar landscape yet feels pulled toward the unknown of open water, choosing between the safety of a known path and the possibility of new connections.

£300

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Between the Shore and Sky

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Hanging On

By kristen nelson

Aquatint etching

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

Cubes spill from a dark square, tumbling into endless empty space. A person tumbles with them, caught in the chaos, and grabs hold of a cube. The person is trying to survive in the moment between collapse and control.

£170

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Hanging On

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Aegean Shadows 1B

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Aegean Shadows IIIB

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Cacti and Parakeets

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Rooftops of St. Ives

By john bloor BA(Hons)

Ink and paper

h: 40 w: 44 d: 1 (cms).

This print shows a view over the rooptops of St. Ives, Cornwall, towards the harbour. It's printed in seven colours on Fabriano 5 300gsm printing paper.

£250

£100 (Unframed)

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Rooftops of St. Ives

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Mackrell Sky

By stella alexander

Lino Cut reduction print

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

This is part of a series of prints i created looking at patterns in nature, experimenting with a more abstract approach focusing on texture and line work.

£150

£100 (Unframed)

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Mackrell Sky

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Texas Stack and Other Wildflowers: I-10, 410, & TxDOT

By rachel kamata

Reduction Linocut on Washi Paper

h: 50 w: 40 d: 1 (cms).

A directional interchange (or stack interchange, 4-6 levels), is a type of grade-separated junction between two controlled-access highways. The inclusion of access roads along all highways and the prolific number of such stacks in Texas have led 5-level interchanges to be labeled a “Texas Stack.” Like the state flower, the Bluebonnet, these interchanges are unique markers of a Texas landscape. Here, I have rendered a major interchange in San Antonio, TX, only including highways and adjacent access roads. While proportionally accurate from a birds eye view, these works remove the junctions from their environment, idealizing and beautifying the gray concrete obelisks.

£700

£700 (Unframed)

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Texas Stack and Other Wildflowers: I-10, 410, & TxDOT

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Texas Stack and Other Wildflowers: I-10, I-37

By rachel kamata

Reduction Linocut on Washi Paper

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

A directional interchange (or stack interchange, 4-6 levels), is a type of grade-separated junction between two controlled-access highways. The inclusion of access roads along all highways and the prolific number of such stacks in Texas have led 5-level interchanges to be labeled a “Texas Stack.” Like the state flower, the Bluebonnet, these interchanges are unique markers of a Texas landscape. Here, I have rendered an interchange from my hometown San Antonio, TX, only including highways and adjacent access roads. While proportionally accurate from a birds eye view, these works remove the junctions from their environment, idealizing and beautifying the gray concrete obelisks.

£200

£200 (Unframed)

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Texas Stack and Other Wildflowers: I-10, I-37

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The Wharf, Mousehole

By john bloor BA(Hons)

Ink and paper

h: 38 w: 40 d: 1 (cms).

An eight colour screenprint of The Wharf, Mousehole, Cornwall featuring natural media and textures as well as overprinting to achieve depth. It is printed on Somerset Velvet Radiant White.

£150

£75 (Unframed)

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The Wharf, Mousehole

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Discarnate

By cleo wilkinson

copper plate on arches rives paper

h: 45 w: 45 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.

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Discarnate

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Folige

By kaarina kuusisto-lukkari

clay monotypia

h: 43 w: 33 d: 1 (cms).

This work is created using a clay monoprint process, where slips, oxides and pigments are worked directly onto a clay surface and transferred onto Reemay fabric. The image is built through layering, removal and spontaneous mark-making, allowing the material to guide the final composition. Folige explores organic growth and the rhythm of foliage. The vertical forms suggest a dense, living structure where light and shadow move through layered surfaces. The process leaves visible traces of pressure, texture and time, emphasizing the physicality of the print. Each work is a unique, hand-pulled print.

£420

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Folige

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Yellow Peony

By kaarina kuusisto-lukkari

clay monotypia

h: 43 w: 33 d: 1 (cms).

This work is part of an ongoing exploration of clay monoprinting, where the image is transferred from a clay surface onto Reemay fabric. The process combines drawing, layering and direct physical interaction with the material, allowing both control and unpredictability to shape the final image. The composition is based on floral forms, but moves between representation and abstraction. The line work emerges from the transfer process, creating a shifting boundary between structure and dissolution. The surface carries traces of movement, pressure and time, giving the image a tactile, almost fragile presence. Each work is a unique, hand-pulled print.

£420

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Yellow Peony

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Round Garden

By kaarina kuusisto-lukkari

clay monotypia

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

This work develops through a more gestural and immediate approach to clay monoprinting. Pigments, slips and marks are built up on the clay surface and transferred in a single, decisive process onto Reemay fabric. The circular format creates a contained field where movement, rhythm and pressure become central. The image unfolds through layers of colour, splashes and drawn lines, balancing between control and spontaneity. The process captures a moment of energy, where the material actively participates in forming the composition. Each work is a unique, hand-pulled print.

£420

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Round Garden

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Accomplices

By christophe corbeaux

printmaking

h: 50 w: 40 d: 1 (cms).

£200

£150 (Unframed)

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Accomplices

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La Vuelta

By sam halpenny BSc(Hons)

Soft ground etching & aquatint

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

This image is inspired by the cyclists taking part in a stage of La Vuelta cycle race in Spain. I was able to stand very close to the road as the cyclist in groups of pelotons sped past. As a cyclist myself it was an exciting, adrenaline fuelled event to see. I was also looking to create an etching with a circular zinc plate so the use of a bicycle wheel as the frame seemed appropriate.

£350

£320 (Unframed)

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La Vuelta

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Lincoln

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We Met by The Watertower

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Gyotaku of squid

By anders verschuren

Kozo paper, squid inkt, indian inkt.

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

Gyotaku of Loligo vulgaris, pressed with inkt out of a squid

£2000

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Gyotaku of squid

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House of Light 1

By stephen glover

Monotype

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

'House of Light 1', references the geometric shape, a stereotypically hard-edged male symbol of stability, strength and rationality; the blurred geometry in this piece however, presents this symbol in a softer and more compassionate form, where the “I” and “ego” is replaced by a symbolic awareness beyond the self. The print was created on an acetate sheet which was coarsely sanded prior to inking.

£220

£220 (Unframed)

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House of Light 1

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Porosity a

By jess bugler

monoprint using a carborundum and collagraph plate

h: 27 w: 26 d: 1 (cms).

A piece about the peculiar vitality and affect of the Pembrokeshire Coastline where sea and rock meet. Embracing the language of folding, the texture of carborundum grit to speak to an essential meeting of differences at this edge of land.

£145

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Porosity a

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Belisarius

By giovanni tonello

Drypoint on CD and Paper embossing

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

The work is a tribute to the figure of the valiant Byzantine general who led the conquest of North Africa and Italy. Throughout his life, he was often left with a bitter taste in his mouth, both by his military superiors and by Emperor Justinian.

£70

£60 (Unframed)

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Belisarius

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Tessellation 1

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Tessellation 2

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Wellen (Waves)

By ruediger ganslandt PhD

Intaglio print on paper

h: 15 w: 20 d: 1 (cms).

Photo etching on copper. Dry negative-film, double exposed with a stochastic aquatint screen and a positive slide. Etched with Iron III chloride. Printed on my ABIG 17030 press with Akua intaglio ink carbon black on Hahnemühle paper 350 g/m2, soft surface, natural white. I live in a small fishing village on the German coast, right where the Weser estuary opens into the North Sea. At high tide, shallow water covers the tidal creeks and sands of the mudflats. With the changes of light and wind (or a passing cargo ship in the fairway at the horizon), the patterns of the waves vary permanently, offering multiple opportunities to capture the moment.

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Wellen (Waves)

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Lahnungen 3 (Fascines 3)

By ruediger ganslandt PhD

Intaglio print on paper

h: 20 w: 15 d: 1 (cms).

Photo etching on copper. Dry negative-film, double exposed with a stochastic aquatint screen and a positive slide. Etched with Iron III chloride. Printed on my ABIG 17030 press with Akua intaglio ink carbon black on Hahnemühle paper 350 g/m2, soft surface, natural white. Along the North Sea coast, constant work is required to protect the land behind the dyke. Fascines are used to retain silt and create areas where plants can take root. Not every attempt to reclaim land is successful, often rows of old, weathered and overgrown fascines remain that lead nowhere – their strong contrasts and negative contours creating an irresistible graphic motif.

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Lahnungen 3 (Fascines 3)

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Bäume 4 (Trees 4)

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Summer Blooms

By mariko jesse BA(Hons)

Mokuhanga woodblock printing

h: 45 w: 32 d: 1 (cms).

This is a print of some ranunculus flowers I had in a vase on the dining table – I became fascinated by the way the daylight shone through the layers of petals, and created this woodblock print with the main purpose of recreating that effect. I was also experimenting with creating a 3-dimensional feel with bokashi on the flower stems where they overlap. This is a 4 block print on washi.

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Summer Blooms

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Blue Camellia Bowl

By mariko jesse BA(Hons)

Mokuhanga woodblock printing

h: 44 w: 50 d: 1 (cms).

All my work starts with a drawing from life, and I try to capture intimate, real details I can observe, and yet on a bigger scale, to capture the essence of that moment, the whole environment and the feeling of place. I try to refine all my experience of a thing down to a simple line, or shade of colour, to create a moment of stillness. This is a 2 block print on washi.

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Blue Camellia Bowl

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Claire

By stephanie wright

Acrylic silkscreen print

h: 24 w: 19 d: 1 (cms).

This is an image of Claire, my stepdaughter. I worked on a photo I took of her and translated it into a silkscreen. I think she looks free and completly at home in her own skin in the image

£280

£200 (Unframed)

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Claire

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Starry Night

By giovanni tonello

Drypoint on CD and Paper embossing

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

Starry Night is inspired by medieval celestial visions. This work pays homage to those artists, poets, and writers who depicted the celestial worlds, even without scientific reference, as a static and solemn backdrop to sacred events.

£70

£60 (Unframed)

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Starry Night

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Orange Umbrella

By linda nevill

Sugar lift etching

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

The homeless person lies hidden beneath the orange umbrella in plain sight. Passersby, seen only by their legs, hurry past paying no attention to the body on the ground. They are largely uninvolved observers. The image was made using sugar lift onto the metal to create a painterly, lively effect

£270

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Orange Umbrella

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Crystalline Light

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The Fall Of Night

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St. Begnet's Church Dalkey

By caoimhe morgan BA(Hons)

Lino Print

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

A linocut in black ink on natural paper, depicting the ruins of a historic church on Dalkey Island, Dublin. A white moon rises behind the crumbling walls, casting quiet light over a place where time has stilled. The print draws on Ireland's layered history, finding beauty and presence in what remains.

£000

£000 (Unframed)

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St. Begnet's Church Dalkey

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Forgotten

By Joanna cohn BA (hons)

Hard ground and aquatint etching

h: 50 w: 40 d: 1 (cms).

This work was created to celebrate the crumbling down Grange in Hampshire.

£320

£280 (Unframed)

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Forgotten

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Silver Spoons, Milk Jug and Paper Horse

By lucy rodgers

Colour reduction lino print on Japanese paper.

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

A still life of personal and symbolic objects and references to landscape relating to the women in my family.

£300

£180 (Unframed)

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Silver Spoons, Milk Jug and Paper Horse

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Still life with flowers and strawberries

By luba basin

Lino print, Lino cut

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

I depicted flowers in a simple glass vase and strawberries. On the wall are my first black and white linocuts. The work is in the technique of color linocut with a limited color palette, however in my opinion this is what makes it expressive.

£150

£100 (Unframed)

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Still life with flowers and strawberries

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In the port

By luba basin

Linoprint Lino cut

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

In the linocut I depicted a port in Greece from memories of a summer cruise. The work is made from a single lino block and includes 11 color layers.

£200

£150 (Unframed)

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In the port

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Under the Arch

By nathalie pymm

An original lino reduction print

h: 30 w: 20 d: 1 (cms).

'Under the Arch' is an original hand pulled lino print created on my No. 2 Gunning etching press. Using 8 colours including two handpainted colours to this image. This is part of a small edition of 12.

£250

£195 (Unframed)

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Under the Arch

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Shifting Horizons

By joseph p smith MFA Digital Arts (Melit)

Photogravure on chine collé

h: 60 w: 40 d: 1 (cms).

Photopolymer monochrome plate printed on Awagami chine collé paper

£450

£450 (Unframed)

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Shifting Horizons

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Looking Across to Oronsay

By alex mcintosh MA

Drypoint and mokuhanga

h: 34 w: 26 d: 1 (cms).

varied edition of 18 Made While up in North Uist. this print is a combination of two processes. Drypoint and mokuhanga. The Drypoint Plate I worked on while sat on a beach looking across to the Island of Oronsay on a glorious sunny day. the mokuhanga I did in the kitchen of my accommodation the same day after a long walk back. Each of 18 prints has a different sky as the light and the sky changed so very quick in the short time I was on the beach, however the one submitted is one of my favourites. I used Taigh Chearsabhagh Arts Centre's print studio in Locmaddy to proofed the drypoint and Chine Colla the two element together.

£180

£120 (Unframed)

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Looking Across to Oronsay

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Agathe I

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Agathe IV

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White Rock Pier

By joanne madeley BFA

Screenprint on paper

h: 30 w: 41 d: 1 (cms).

This is screenprint with 8 layers of colour printed on Stonehenge paper at the Society of Northern Alberta Print-Artists (SNAP) in Edmonton Canada.

£200

£200 (Unframed)

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White Rock Pier

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Turville

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School Run

By sophie lewisohn

linocut

h: 40 w: 36 d: 1 (cms).

pthalo green on 200g paper printed area 24 x 24 cm; paper 36 x 40 cm

£250

£100 (Unframed)

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School Run

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Floral Ladybird

By elizabeth millington

Reduction lino print in Caligo safewash ink

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

A 9 layer reduction print of a decorative ladybird surrounded by vibrant folk art nature motifs. Based on Ukrainian and Eastern European folk art.

£180

£130 (Unframed)

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Floral Ladybird

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Clerkenwell Close

By sophie lewisohn

linocut

h: 42 w: 30 d: 1 (cms).

cornflower blue ink on 180g white paper printed area 24 x 33 cm; paper 29.5 x 41.5 cm

£250

£100 (Unframed)

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Clerkenwell Close

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Green Fingers

By zoe buffery

Linocut

h: 30 w: 20 d: 1 (cms).

£240

£120 (Unframed)

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Green Fingers

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'Two Devils Setting Light To Tina's Wheelie Bin. She'll Be Livid'

By david gander BA(Hons)

Linocut

h: 21 w: 28 d: 1 (cms).

Two devils standing either side of a wheelie bin that has been set on fire.

£150

£100 (Unframed)

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'Two Devils Setting Light To Tina's Wheelie Bin. She'll Be Livid'

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Strawberry Farm

By elspeth scott 37

Black Akua ink on Fabriano paper

h: 26 w: 37 d: 1 (cms).

‘Strawberry Farm’ was made following a family trip to the local berry-picking farm where I was struck by the jumble of shapes and textures in the nearby farm buildings. There was something about the conflicting diagonals, horizontals and verticals that I felt would translate well to an effective composition. I was also captivated by the sheer range of gorgeous textures in the corrugated iron, the hay bales, crumbling planks and rusted parts and machinery, grass and flowers springing up between the cracks and all against the dark backdrop of wooded hills. This is reflected in the variety of materials used to construct the plate - tape (masking, aluminum, sello), tissue paper, texture paste, acrylic paint, crackle paste, carborundum, paper, card and eggshells.

£120

£70 (Unframed)

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Strawberry Farm

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A kind of love No.4

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The Warrior

By steven mcdonald

Intaglio. Hard ground etch. Photec.

h: 44 w: 44 d: 1 (cms).

Original hard ground etch of the helmet then later a superimposed self portrait using photo emulsion (photec). I used a À la poupée colour technique and then colour embellishment using liquid silver ink by hand pen to compliment the aesthetic of the original steel plate.

£500

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The Warrior

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Standing In Time

By mandi stewart

Photopolymer relief

h: 30 w: 20 d: 1 (cms).

‘Standing in Time’ is a photopolymer relief print which is part of a series of work inspired by the connections between mental health and nature. This print was developed from a photograph taken whilst I was standing barefoot alone on a black and white sand beach on the Isle of Skye. The sand estimated to be approximately 60 million years old originates from the erosion of volcanic black basalt rock. I have used the photopolymer process to slightly abstract the image and to create greater depth and tone within the lines in the sand. I wanted to explore the sand as a metaphor for time. I was trying to capture the feeling of being both grounded in time by the sand whilst also on a journey through the shifting sands.

£325

£165 (Unframed)

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Standing In Time

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Walking the Chilterns

By christopher noel

Ink on paper

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

Walking the Chilterns is based on view across the fields near Bradenham. It is a reduction print, where the lino is cut, inked and printed multiple times to layer up colours. It is printed with water-based Schmincke inks on Fabiano Unica paper.

£129

£89 (Unframed)

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Walking the Chilterns

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Open Country

By christopher noel

Ink on paper

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

Open Country is a little reduction linocut print, created by carving, inking and printing the same piece of lino lots of times to build up layers of colour. It is based on a view from the top of Beacon Hill in the Chilterns, looking towards Aylesbury Vale below.

£59

£79 (Unframed)

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Open Country

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Fever

By Josephine Birch BA(hons), MA, RDS

Dry point on Tetra Pak

h: 46 w: 38 d: 1 (cms).

Triptych on tetra-pak printed on Hahnemuhl Etching paper. Based on my son through a night of fever. Waking, sleeping, moving.

£380

£340 (Unframed)

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Fever

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Stork

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Stork I

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Underhooken

By emma molony

Lithino

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

This piece is created through the new alternative lithography process - lithography on lino combined with reduction linocut

£250

£130 (Unframed)

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Underhooken

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Kew Steps

By sarah tarbuck

Linocut

h: 42 w: 30 d: 1 (cms).

A detailed linocut of the staircase inside Kew Gardens’ Palm House. I was really drawn to the structure of the space, the ornate ironwork, the layers of foliage, and the way the glass roof filters light through the plants. Working out how to carve the roof so it subtly peeks through the leaves was one of my favourite parts of the process. It became a balance of detail and restraint, letting light and shadow do the work.

£100

£70 (Unframed)

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Kew Steps

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Forest & Ferns

By Gemma Dunn

Linocut

h: 32 w: 25 d: 1 (cms).

Forest and Ferns is a secret, hidden space that invites the imagination. It feels inaccessible, with a barrier of bracken and messy tangles protecting the perfect hideaway within the branches of a fallen tree. I discovered this moment in nature as I repeated my walking route after the rain had passed. This walk’s purpose was to explore how changing light transforms the landscape and makes ordinary and overlooked things beautiful.

£190

£90 (Unframed)

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Forest & Ferns

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Juvenile Gum (Bronte Park, Tasmania)

By olivia moroney MFAD

Aquatint and etching

h: 38 w: 28 d: 1 (cms).

28 x 38 cm is the paper size the image size is 15 x 20 cm

£250.00

£250.00 (Unframed)

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Juvenile Gum (Bronte Park, Tasmania)

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Fruit Bowl with Grapes

By ruth greenwood

Aquatint Etching on Steel printed on Hahnemulha paper

h: 37 w: 42 d: 1 (cms).

A Baroque Still Life composition, centred on the overlooked — the curve of a pear, the bloom on a grape, the soft decay of an over ripe peach — inviting viewers to slow down and inhabit the moment. Through a controlled step process of aquatint, layered inking technique and painterly approach to etching, the work honours the lineage of still life art while asserting a distinctly contemporary voice.

£275

£210 (Unframed)

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Fruit Bowl with Grapes

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Cosmos

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Feel the Sky

By kate crisanti

Lino reduction

h: 46 w: 30 d: 1 (cms).

Seven layer reduction print

£185.00

£185.00 (Unframed)

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Feel the Sky

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Party of One

By kate crisanti

Woodcut

h: 122 w: 92 d: 1 (cms).

£666

£666 (Unframed)

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Party of One

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Pelhamen II

By michaela wheater

Etching and Collagraph on Somerset Satin Soft White, 300g/m

h: 38 w: 29 d: 1 (cms).

My work is concerned with the human condition and is made from a deep personal exploration of vulnerability. Theatrical, articulated figures, often unsettling are derived from drawings of myself. They adopt the awkwardness and the guise of the puppet I have owned since childhood. I am searching to find understanding in the moment of making.

£295.00

£165.00 (Unframed)

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Pelhamen II

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Windowsill

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"Skiddaw"

By amelia hemmings

Reduction linocut & mono print

h: 31 w: 22 d: 1 (cms).

"Skiddaw" is a reduction linocut & mono print. Printed within four hours en plein air using a Gunning Mini Thumper portable press. The mountainous landscape was presented to me as a pod artist for Sky Arts Landscape Artist of the Year this year.

£395.00

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"Skiddaw"

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Spotted Eagle Ray

By vicki rutter BA(Hons)

Cranfield Caligo Safewash Ink on Fabriano Rosapina Avoria 285 gsm paper

h: 30 w: 25 d: 1 (cms).

This piece was accomplished using blind embossing for the sandy seabed followed by lino printing the spotted eagle ray

£100

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Spotted Eagle Ray

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The Crossing

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Alice in Budapest

By cascia day MD

Gel plate monoprint

h: 35 w: 40 d: 1 (cms).

Meet the beautiful Alice of Budapest. I usually never repeat pieces, but this is the third time that I’ve painted Alice and I promised it’s the last! I really wanted to capture her on the larger gel plate. “Motivation is a Wonderland”, located at Kertész utca 27, District VII (Erzsébetváros), Budapest. It was created by Dan Ferrer, a Spanish street artist and illustrator. The mural sits on a firewall — the exposed side of a building left bare when a neighbouring structure was demolished, a common feature of Budapest’s urban fabric. As visible in your photograph, the wall’s crumbling plaster and peeling paint have become part of the artwork’s texture over the years, lending it a weathered, almost archaeological quality that deepens its emotional resonance. The parking lot setting at Kertész utca 27 remains one of the most visited street art destinations in the city

£80

£80 (Unframed)

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Alice in Budapest

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The Lion Sleeps Tonight

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downtown

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Cosmic Cousins

By alan qualtrough BA (Hons), MA

Photopolymer Photogravure

h: 42 w: 30 d: 1 (cms).

I'm interested in the view that we are all made of 'space dust' and share more or less the same molecules. The subject is a chance meeting of similar forms but one animate, the other inanimate.

£175

£100 (Unframed)

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Cosmic Cousins

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Rudha nan Clach to Sgurr Mor

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Dale Fort

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Learning How To Pin Bugs

By lily jarrell

Five layer etching printed with aquatint, bug box from my mom's childhood, replica made with cardboard and lithograph

h: 46 w: 61 d: 1 (cms).

The installation of the piece would be with my mom's and my bug boxes but I thought that if it got into the show (fingers crossed) it would just be the 18" x 24" etching, I just wanted to share the entire piece with you.

£225

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Learning How To Pin Bugs

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Cornelius

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'Every end is a new beginning'

By elżbieta gibulska

Drypoint on paper

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

“Every end is a new beginning” refers to a moment of transition — an ending that simultaneously initiates a new phase. The work presents a face emerging from a dispersed, unstable graphic structure. The image is built through strong contrasts of light and dark, as well as layered marks that emphasize both construction and disintegration of form. The fragmentary nature of the image suggests change, discontinuity, and the absence of a fixed identity. The face is not fully defined — it appears and disappears, which can be read as a visual record of transformation. There is a clear tension between control and chance, visible in the gestures and texture. The work does not depict a specific individual but rather refers to a universal experience of endings and beginnings. It focuses on process — a moment in which something comes to an end while simultaneously creating the conditions for something new to emerge.

£200

£180 (Unframed)

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'Every end is a new beginning'

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T~+

By krzysztof olszewski PROF

serigraphy on paper

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

The serigraphy 'T~+' is a fragment of a research process analyzing the repetitive gesture as a fundamental visual unit. The composition was created through the systematic application of linear marks, the accumulation of which creates a field of varying density and intensity. This method allows for the observation of the relationship between order and disruption in the relationship between art and science as a global image structure. The work functions as a record of a temporal process, in which each trace is both an autonomous element and part of a larger system. The work draws on the concepts of emergence and self-organization, treating the image field as a research model for analyzing the mechanisms of structure formation from minimalist, elementary units.

£500

£400 (Unframed)

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T~+

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Thrush

By SUE BROWN BA(Hons) MA

Collagraph with lino printed background

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

Thrush is a mixed media print using a collagraph made from mount board with glue and a detailed lino print.

£222

£160 (Unframed)

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Thrush

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Serpent

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Over the Hills and Far Away

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The concertina book

By helena kalna

paper

h: 27 w: 20 d: 1 (cms).

The image depicts a small human figure standing on the side of a folio moving into the distance, the pages of which fold in a regular rhythm and gradually disappear into the distance. The perspective is set so that the individual parts of the book converge into a vanishing point on the horizon, creating a strong impression of an endless journey. The individual pages of the folio are also depicted as windows. The contrast between the smallness of a person and the monumentality of the book emphasizes human vulnerability and humility towards time and existence. The folio here does not represent just a book, but rather a symbol of life itself — each page can mean one stage, experience or decision. What is close is clearly legible and concrete, while the distant pages dissolve into indefiniteness, similar to our future.

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The concertina book

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Rings

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Wings

By helena kalna

paper

h: 36 w: 25 d: 1 (cms).

Do you sometimes feel bound by circumstances? Bound Wings expresses exactly this feeling. But this graphic is not only negative, because obstacles force us to grow. And these wings, though tied, soar above the darkness. it is a metaphor for the inner tension between limitation and freedom. “Bound Wings” in this context does not mean just helplessness — rather, a state where potential exists but is not fully utilized. And that is what is interesting about it. What's also interesting is that "bonding" doesn't necessarily have to be just something external. Sometimes it's our own fears, expectations, or the past that hold those wings. And then the meaning of the whole graphic shifts even further inward — to the question of what exactly is holding us back and whether that bond can be gradually loosened.

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Wings

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Of Earth and Air

By corinne mangan

Photopolymer Etching

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

The individual feathers and ferns were inked up and printed indvidually as a botanical monoprints onto TruGrain. Mark making with indian ink, printing ink and drawing tools were added to the image. The image was then exposed onto a photopolymer plate to create the etching. The final plate is inked up intaglio and printed on a Gunning Etching Press.

£180

£130 (Unframed)

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Of Earth and Air

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Moments of Pause

By phoebe leach

Ink on Japanese Paper

h: 35 w: 30 d: 1 (cms).

Between 2024 and 2025, I was the resident artist with the Department of Clinical Neurosciences at the Royal Infirmary of Edinburgh. Observing nearly 20 operations, from spinal surgeries to craniotomies, I produced over 80 drawings from life. These informed a series of paintings and monotypes, such as ‘Moments of Pause’, an amalgamation of all the moments witnessed. This work celebrates the surgical team whilst helping patients build a narrative to help them understand their experiences. After observing only a handful of operations, it became clear the message I wanted to convey: in an exceptionally sterile and clinical environment, what stood out was the humanity, compassion, and teamwork.

£650

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Moments of Pause

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By the River

By jane duke

Reduction linoprint

h: 30 w: 20 d: 1 (cms).

‘By the River’ is a reduction linoprint created in 12 colours over 11 layers. It depicts an early morning walk along the River Ouse in my home city of York.

£240.00

£120.00 (Unframed)

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By the River

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Cone Tornado

By wendy pennington

Etching with aqua tint and spit bite

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

This etching captures the intensity of a tornado descending from a turbulent sky, its pale, tapered funnel appearing almost luminous against the blackening clouds. It narrows as it meets the ground, whipping up debris along a thin horizon that feels dwarfed by the looming, foreboding storm. Printed on Somerset Velvet.

£160

£80 (Unframed)

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Cone Tornado

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Seeing Stone

By jessica van baalen

Reduction linocut

h: 34 w: 24 d: 1 (cms).

'Seeing Stone' depicts Men-an-Tol in Cornwall, an ancient site steeped in lore and legend. Stories mainly focus on the holed stone, and it is believed to bring some form of good luck if you pass through the stone, whether it be curing back pain or aiding fertility. Whenever I visit the site, to me the stone feels like some kind of portal, to the past or to another realm, which is what this print explores.

£100

£70 (Unframed)

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Seeing Stone

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It's Late, It's Late It's Late!

By Ellie Clfitlands BDES, MA, SWE

Wood Engraving

h: 18 w: 12 d: 1 (cms).

‘It’s Late, It’s Late, It’s Late!’ is a wood engraving depicting the wonderful Covered Market in Oxford. The scene is referencing time in several ways: the market was celebrating its 250th anniversary; the elderly woman is catching the final post; and Alice in Wonderland’s White Rabbit’s famous phrase is “I’m Late!”. The vaulted ceiling and the converging lines of the market draws the viewer into a maze, almost like that Alice finds herself in!

£185

£150 (Unframed)

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It's Late, It's Late It's Late!

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One Day at a Time #3

By melonie hurst MA

Hardground Zinc Etch with Chine Cole on Somerset

h: 19 w: 27 d: 1 (cms).

Still life drawing of a single dose of mixed tablets, using corresponding Patient Information Leaflets. Inspired by my daughter's daily struggle with Epilepsy, its regular medication (and side effects), used to control seizures.

£165

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One Day at a Time #3

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Flow 1

By annette paulsen

Paper: Old Nuremberg, ink: caligo safe wash

h: 42 w: 60 d: 1 (cms).

The abstract, clearly defined forms of the cardboard print contrast with the various layers of the monotypes above. Variations in color and form reflect observations of the ever-changing moods that pervade the landscape. The whims of the clouds flow into the landscape and are reflected in the water and land below. The abstract forms absorb this movement and carry it forward in a different way. I never tire of being surprised by the subtlety of the nuances in this progress, both in observing and in creating. Cardboard prints combined with monotypes, multicolor, 10-15 layers, unique piece. Paper size: 42 x 60 cm, image size: approx. 30 x 40 cm. This series consists of 10 motifs. Printed on genuine handmade paper, Old Nuremberg, with four natural deckle edges. The paper is of very high quality and meets the criteria for maximum archival quality. Paper size: 42 x 60 cm, paper weight: 260 g/m², paper color: white.

£600

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Flow 1

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