Ironbridge Fine Arts : Printmaking Competition 2025

Lost

By jared barbick

Woodcut

h: 44 w: 44 d: 2 (cms).

This work addresses the feeling of being overwhelmed and lost. The woodcut of an infinity-mirrored dodecahedron draws the viewer in. The feeling can be disorienting at first and the longer you stare the worse it gets. Then, you discover the man standing, peering out into a seeming void of endless similarity. He stands lost, stuck, and unable to move. Unable to know where to go. Unable to know what to do. This is the essence of this work.

£2000.00

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Lost

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False Art Deity

By jared barbick

Woodcut

h: 41 w: 41 d: 2 (cms).

This work addresses the fact that the rooster image is as widely desired as other biblical iconography. So, the rooster sits amongst the dramatic clouds like other biblical figures, but to highlight the absurdity of it, the rooster is not real and is just an image affixed to a balloon.

£2000.00

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False Art Deity

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Poolside pause

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Boxes

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Winter in the Cove

By catherine lovett

Lino print and Silk screen

h: 26 w: 18 d: 1 (cms).

Winter In the Cove began as sketches made in January 2024 during a residency at Brison’s Veor, Cape Cornwall. The intention was to capture the quietness of Cornwall in winter. While Cornwall is often seen as a bustling summer holiday spot, this piece instead depicts a fishing community—boats resting idly during winter, with the empty manmade tide pool in the background. The print begins with a hand carved lino print. This lino print is then placed on a silk screen and forms the final layer, after multiple handcut stencils are used to print and layer up colours.

£150

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Winter in the Cove

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'I Want to Succeed'

By julia baines BA(Hons) & PGDiploma

Aquatint

h: 30 w: 15 d: 1 (cms).

'I Want to Succeed' is a resident parrot in the Garden Centre at Dumfries, Scotland. He sits outside his cage, and if feels like it he will talk to you. I have never been able to get this close to a parrot before and I was totally fascinated by his markings and feathers.

£175

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'I Want to Succeed'

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Nous deux

By alain desgagné

Etching and aquatint

h: 38 w: 26 d: 1 (cms).

This semi-figurative work initially evokes the solidity of a monolith and the luminosity of stained glass. It then invites the viewer to look more closely, revealing subtle elements of nature. The blue tones in this variation complete the experience, surrounding us with a light that seems to emanate from both the sky and the ocean.

£100

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Nous deux

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Dream Swallower

By rachel kamata

Artist Book, Linocut on Washi-kozo Paper

h: 12 w: 29 d: 1 (cms).

The story begins in a town called Allenville, where the miracle of water in the desert is plentiful, until suddenly it isn’t. Overconsumption leads to the collapse of the aquifer beneath the town. The name of the town “Allenville” was chosen randomly, as to not make any clear associations to a particular place. However, after choosing the name, I looked it up to find that there was a town in Arizona with the same name that was coincidentally abandoned in 1981 after several water related infrastructural issues. Dream Swallower is a rework on an earlier bound book from 2022. Printing this book was particularly challenging due to differences in the linoleum. Adding expanding glue to the back of the matrix allowed me to create the cloudy effect on page 4.

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Dream Swallower

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Uncharted Waters

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Nearly there

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Red Kite over the White Horse

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Pale Horse

By gini wade

Lithograph

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

This lithograph is taken from my series Aspects of Epona, in which I explore symbolic and cultural aspects of the Horse. Pale Horse references one of the four horses of the Apocalypse, an image appropriate for our times, I feel. It is printed with my Victorian litho press on Hahnemulle paper

£195

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Pale Horse

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Landscape

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Rooftops

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Mobus

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Winter Garden

By Helen A Taylor MA. SGFA. ASWA

Linocut with watercolour

h: 50 w: 38 d: 1 (cms).

This is my garden in February this year. In winter the shapes of the leaves are particularly inspiring without the distraction of colourful flowers the garden becomes a place of sculptural plants and subtle shades of green and brown.

£350

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Winter Garden

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sunburst mixed

By annie guest

Cyanotype

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

This cyanotype is a response to the fact that the UK is one of the most nature depleted countries in the world. Wildlife have to try to exist with fractured landscapes, loss of habitats and humankind’s detritus. Sunburst Mixed was created using collage made with discarded materials combined with a found image of a bird. A negative image of that is then placed onto the hand coated cyanotype paper which I prepare myself before being exposed to ultraviolet light (the sun) I enjoy that cyanotypes are made in partnership with nature, allowing the weather and chance to be part of the process. The gold leaf details reference Kintsugi – the Japanese art of repairing broken pottery with golden glue to emphasise the breaks, embracing its imperfection, trying to create something that is beautiful and resilient.

£200

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sunburst mixed

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Flu Hand. Tableau.jpg

By jonnie turpie

Direct-to-plate Photogravure

h: 44 w: 35 d: 1 (cms).

Direct to plate is a contemporay digital/analogue photogravure technique

£1200

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Flu Hand. Tableau.jpg

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Safe and Sound

By Anita Saunders BA(Hons)

Water-based acrylic screen printing inks and oil-based relief printing ink on heavy weight acid-free paper

h: 42 w: 45 d: 1 (cms).

Safe and Sound was inspired during the Covid Pandemic – a time of mass anxiety. The positive effect of the ‘Lockdown’ was the abundance of wildlife in evidence when out walking. One encounter to make an impression on me was seeing many deer, relaxed, resting and feeding at the edge of the wood. A young fawn, curled in the grass, watched us walk by. Being close to its family group it was the picture of contentment and security. The contrast with the anxiety humans were experiencing, on a global scale, stuck me.. Moved to capture the scene, Safe and Sound joined the series of lino with screen prints celebrating my chance encounters in nature. Working directly on the screen with drawing fluid, I created a screen for each of the individual opaque and transparent inks which combine to make the base colours. The fine detail, texture and sinuous lines come from the carved lino block which I’ve printed on top of the base colours, in warm black, oil-based, relief printing ink.

£375

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Safe and Sound

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Vienna Entrance

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Puawai

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Bench Shadow

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Gingham Shirt

By anselmo swan BFA

woodcut on paper

h: 33 w: 23 d: 1 (cms).

My woodcut Gingham Shirt was created using five separate blocks of wood, employing the reduction method on two of those blocks.

£350.00

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Gingham Shirt

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To Troy

By eric gaskell SGFA. RBSA

Reduction Linocut

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

I like to see how far I can push various technical elements of linocut. I also like to have disparate ideas sitting side by side. "To Troy" gave me a hook to hang the three basic elements; sky, sea and land on and the free-reign to use three different methods.

£240

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To Troy

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Força

By mary claire whalley

Linocut, ink on paper handprinted on the Letterpress

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

'Força' (Have Strength) is a linocut that celebrates the immense human effort behind Portugal's pedra calçada and the resilient ecosystems thriving within their cracks. Part of a series observing a new country through immigrant eyes, this piece captures the process of establishing identity and community. 'Força' speaks to the plant's tenacity in the image, while also serving as a universal message of resilience in challenging times.

£30

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Força

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Synth Experimentation Spectrogram, Leeds

By ella georgiou BA (Hons)

Intaglio on Hahnemühle Paper

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

Spectrogram of a sound recording. The recording is of a series of sonic experimentations on a modular synthesiser.

£290

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Synth Experimentation Spectrogram, Leeds

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Self Portrait

By faye winslade BA (Hons)

Etching, aquatint

h: 48 w: 32 d: 1 (cms).

I create dark, eerie images that explore themes of mental health and anxiety. Each piece starts as a drawing, which I transfer onto a zinc plate through photo etching and aquatint. This slow, tactile printmaking process allows me to build deep, textured tones and atmosphere.

£240

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Self Portrait

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Andean Market I

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Andean Market II

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Sea Clouds

By axel chaldecott

Photogravure

h: 26 w: 38 d: 1 (cms).

2 Plate Duotone Photogravure on Somerset Velvet 300 gsm

£350

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Sea Clouds

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Six Tree

By axel chaldecott

Photogravure

h: 26 w: 38 d: 1 (cms).

2 Plate Duotone Photogravure

£350

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Six Tree

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Marpole

By anselmo swan BFA

wood engraving on gampi paper

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

£170.00

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Marpole

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Gabrielle's Chaos

By jo lysaght

Multiblock woodcut on Japanese Shina ply

h: 30 w: 45 d: 1 (cms).

Gabrielle’s Chaos is an emotional response to the devastating floods caused by cyclone Gabrielle that struck the East Coast of New Zealand in 2023. Though I was not directly affected, the harrowing accounts of rising waters and narrow escapes haunted me and left a lasting impression that I felt compelled to express visually. The overall image is deliberately dark and threatening, reflecting the chaos and helplessness that climate-related disasters provoke.Central to the work is a heron, symbolic of longevity but entangled in forestry slash swept down from the hills. A couch, eerily intact, floats among the debris; a direct reference to surreal footage from the floods. The juxtaposition of domestic comfort with destruction underscores the fragility of what we take for granted. Survivors recounted cutting through ceilings to escape. This print is both a witness and a warning. A commentary on climate change and environmental neglect.

£200

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Gabrielle's Chaos

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Evening Light

By Flotsam Prints by Megan Hall BA(Hons)

Reduction Linocut on Somerset Satin

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

“Evening Light” captures the quiet shimmer of the sea as daylight fades- an interplay of reflection, shadow, and motion. This piece uses a subtle palette of deep blues and soft greys to evoke that liminal time when water seems to glow with its own light. Created through reduction linocut, the work layers texture and tone to bring depth to the surface of the sea. It reflects Megan’s ongoing exploration of how water can hold both energy and stillness at once, and how light transforms what we see.

£495

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Evening Light

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Bokeh

By Flotsam Prints by Megan Hall BA(Hons)

Reduction Linocut on Somerset Satin

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

Inspired by the photographic term for the out-of-focus blurs of light, Bokeh brings together sweeping oceanic forms with soft, glowing orbs that evoke both the physics of water and the poetry of memory. With fluid wave patterns and a palette of soft blues, creams, and golden tones, the piece is a tribute to the sensory magic of being near the sea-where focus softens and time expands.

£495

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Bokeh

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Atlantic Wake

By Flotsam Prints by Megan Hall BA(Hons)

Reduction Linocut on Somerset Satin

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

In Atlantic Wake, printmaker Megan Hall explores the fleeting turbulence left behind by a passing vessel. Using the expressive qualities of linocut, she captures the restless patterns and surface tension of water disturbed—moments that exist briefly before dissolving into the ocean’s broader rhythm. Hall’s work reflects a fascination with impermanence and movement, translating the energy of the sea into layered, tactile mark-making. Atlantic Wake invites quiet reflection on presence, passage, and the subtle impact of human movement through nature.

£495

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Atlantic Wake

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The Bear

By Georgia Green BA(Hons)

Silkscreen

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

‘The Bear’ is a four-colour silkscreen edition, named for Georgia’s love of the illustrated children’s book by Raymond Briggs.

£290

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The Bear

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Summer Shadow

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Sea Cliff at Port Mohr Bragar-Mullach na Creige

By carol mannas

Woodcut: Reduction 5 Color

h: 50 w: 38 d: 1 (cms).

My practice, as a print artist, changed as a result of being in the Outer Hebrides. The landscape so completely surrounded me with the big, moving sky and unique colors of the moors, lichen and rock formations that my subject matter was in front of me. The landscape was what most impressed me and inspired my work. I also hand printed all of the plates. This was the first time I had endeavoured to print without a press and the hand burnishing expressed the grain of the wood as part of the image in the cliffs which I consider an exciting detail to each of the plates. The plates are presented separately as five pieces, but also are to be installed vertically so to complete the Sea Cliff at Port Mhor Bragar. I have included an image of the full vertical installation for context with each of the separate plates.

£525

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Sea Cliff at Port Mohr Bragar-Mullach na Creige

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Sea Cliff at Port Mohr Bragar-Meadhan na Creige II

By carol mannas

Woodcut: Reduction 4 Color

h: 50 w: 38 d: 1 (cms).

As per 'Sea Cliff at Port Mhor Bragar-Mullach na Creige

£525

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Sea Cliff at Port Mohr Bragar-Meadhan na Creige II

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Sea Cliff at Port Mhor Bragar-Meadhan na Creige III

By carol mannas

Woodcut: Reduction 4 Color

h: 50 w: 38 d: 1 (cms).

As per 'Sea Cliff at Port Mhor Bragar-Mullach na Creige

£525

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Sea Cliff at Port Mhor Bragar-Meadhan na Creige III

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70 Exhibition Road

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Hardland Point

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Gull Rock Tintagel

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Tan Gwyllt IX

By veronica calarco PhD

Ten colour lithograph

h: 39 w: 30 d: 1 (cms).

This lithograph is part of a series where I explored the idea of not printing editions but rather printing a series of prints to tell a continual story of the Australian Black Summer extreme fires of 2020. I had experienced the bush fires second-hand through my friends, whilst in wintery Wales. Returning to Australia, after the fires, I drove along the back roads cutting through the Wadbilliga National Park from Dalgety to Carbargo trying to reach the east coast to see my friends and mother (who had been unable to leave her care home whilst the fires raged). Seeing the destruction seared into my brain and then my yearly visits showed the countryside slowly regrowing. By experimenting with colour – working through the greens, blues and browns of a healthy forest to the oranges of the fires, to the black that remains once all the colours have burnt away and then the slow regeneration of new growth, I explored the emotions of seeing a place I loved totally destroyed and regrown.

£250

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Tan Gwyllt IX

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Reflection

By marie-louise wasiela MA

Printmaking

h: 24 w: 21 d: 1 (cms).

This work approaches the human body and skin in a sculptural way. It's made with delicate pencil lines, and printed in a dark grey ink which mimics a pencil drawing.

£200

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Reflection

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Pedunculate Oak

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La Città dei Morti

By stefano minutella

zinc

h: 25 w: 15 d: 1 (cms).

Family memories of an ancient Sicily, a rural countryside steeped in slow gestures, still devoted to pasture and agriculture. From the wildest peaks to the cultivated hills, farming and livestock breeding characterise the territory, marking the geological fabric with mule tracks and trails, ancient watering holes and old farmhouses, often abandoned. When the straight roads give way to hairpin bends, the economy of our ancestors emerges, a continuous transhumance from the village to the market, from the sheepfold to the hearth. These works were created among the paths of the Alte Madonie, long horse rides in search of a return to the origins and places that once characterised the daily life of our grandparents. A photographic investigation that revolves around these places, now part of a past that is perhaps too distant.

£250

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La Città dei Morti

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'Wildlight'

By bethany graham

Oil Based Lino Print

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

This lino print captures the hidden, iridescent beauty of a starling - one that frequently visits my window, often disrupting sleep with its night-time chatter. Created using a 10-layer reduction process, each colour is carefully carved and printed in sequence, building rich depth and subtle luminosity. The result is a vibrant, multi-tonal impression that mirrors the unexpected spectrum found in the starling’s feathers. Printed on heavyweight 250gsm Somerset paper, the work reflects a love for traditional printmaking while pushing its expressive boundaries through detailed layering and painterly precision. A celebration of overlooked beauty in everyday encounters.

£280

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'Wildlight'

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La Grande Madre

By stefano minutella

zinc

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

Family memories of an ancient Sicily, a rural countryside steeped in slow gestures, still devoted to pasture and agriculture. From the wildest peaks to the cultivated hills, farming and livestock breeding characterise the territory, marking the geological fabric with mule tracks and trails, ancient watering holes and old farmhouses, often abandoned. When the straight roads give way to hairpin bends, the economy of our ancestors emerges, a continuous transhumance from the village to the market, from the sheepfold to the hearth. These works were created among the paths of the Alte Madonie, long horse rides in search of a return to the origins and places that once characterised the daily life of our grandparents. A photographic investigation that revolves around these places, now part of a past that is perhaps too distant.

£300

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La Grande Madre

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Mangrove

By Chiara Mensa

linocut

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

'MANGROVE' is an original linocut print part of a limited first edition of 40 copies. It is printed by hand from a traditional lino block using a custom mixed teal oil-based ink. The design celebrates life teeming among the roots and branches of a mangrove tree. I am fascinated by the incredible diversity that exists in nature and wanted to capture it in a print, or better, series of prints. “Mangrove’ is part of a growing series of linocuts titled “Habitats” focusing on the themes of connection, interbeing and interrelatedness in the natural world. I have particularly enjoyed this project because it has encouraged me to learn about different ecosystems while also challenging my composition and carving skills.

£120

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Mangrove

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Golden Park Light

By alexandra buckle

Reduction Linocut

h: 39 w: 29 d: 1 (cms).

Evening glow lighting up the trees by a lake and creating colourful reflections. Inspired by Stowe Lake in Golden Gate Park, San Francisco. Lightfast, water-based inks on archival cotton paper.

£240

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Golden Park Light

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St Paul's and Plum

By alexandra buckle

Reduction Linocut

h: 39 w: 29 d: 1 (cms).

A wonderful view of St Paul's Cathedral, partially obscured by a modern glass structure and trees. I printed four colourways of this reduction print. In this version, the sky is a purple to yellow fade, the building a warm terracotta and the trees are are a cool green with berry coloured accents. Lightfast, water-based inks on archival cotton paper.

£240

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St Paul's and Plum

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Canny Cool City

By helen richardson BA (hons with QTS)

Lino Print

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

‘Canny Cool City’ is my take on the amazing Newcastle Quayside from the Ouseburn area. Featuring local iconic buildings and structures such as the Baltic Contemporary Art Gallery, The Malmaison Hotel, the Tyne Bridge, The Tyne Bar as well as a heart in the style of Mul, a local iconic spray painting artist. The Quayside is a true northern gem and a must visit place if you ever visit Newcastle.

£115

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Canny Cool City

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Artichoke

By Carla Smith BA(Hons)

Tetra Pak

h: 15 w: 10 d: 1 (cms).

A thistle, spinning, becomes an artichoke—only to turn back again in reverse. It is the call of home, as plants speak of food, beauty, and place: carciofo, artichoke, thistle. Purples and greens evoke a sense of soft, sweet belonging. This delicate print depicts an artichoke in bloom, curving in a gentle, dance-like motion. It plays with light and texture, exploring ideas of place and home. Growing up with family muddled between Italy and Scotland, I have always felt a constant interplay between the two cultures. Here, the artichoke becomes a figurative bridge between these countries—a subconscious, playful exploration of identity, memory, and belonging.

£55

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Artichoke

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Mountain

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Around the Seven Seas

By alexandra harrington

Lino cut print using printing inks and oils

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

This work pays homage to the power of the shark in the global and local ecosystems, depicting the emblematic dorsal fin and silhouette enmeshed with the seven seas.

£100

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Around the Seven Seas

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Laverick

By paul bloomer RA (PG Dip) BA Hons

Aquatint

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

This etching is part of a sequence of 35 prints that explore seasonal change on Shetland . Laverick is the Shetland dialect word for sky lark which is the first songbird to start calling in the spring. The darkness of a northern winter has to be lived through in its entirety to appreciate the intensity that long hours and months of darkness has on all living things not least the human psyche. The song of the sky lark is a song of hope that is magnified by the return of the light when darkness of winter that has shed its veil. In the wider context of the U K when many of our birds have been lost through habit loss and environmental degradation the song of the Laverick is an eternal song redolent with the promise of new life that the darkening skies of our current political landscape cannot silence.

£350

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Laverick

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Curry Mecca

By martin sutherland Sutherland

Lino print

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

My hometown Gravesend, on the river Thames is home to a large Asian community which settled in the late 1960's. Curry Mecca is one of a series of the many curry houses in the town

£100

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Curry Mecca

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Great Grandfather

By martin sutherland Sutherland

paper

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

This is my Great Grandfather, a Shrimp fisherman at Gravesend on the river Thames. He was the owner of the last Bawley (boiler) boat on the thames 'Thistle'. My family heritage is closely linked with the Thames and I was the first male Sutherland not to work on the river in some capacity but chose the la di da arty route :)

£120

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Great Grandfather

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Unfurl

By Gillian Wright BFA

Drypoint on Fabriano

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

£290

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Unfurl

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Beacon Cove

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Scorhill

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Holly hocks

By Deniseinceart

Cranfield Caligo Safe wash relief ink

h: 48 w: 36 d: 1 (cms).

Reduction lino print using my own colour mixes of ink. printed on Fabriano Rosaspina, Bianco paper 285gsm

£160

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Holly hocks

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Neglect - Tangle

By anthony williams williams

Cranfield Safe Wash on 220gsm Fabriano Rosaspina with hand coloured details

h: 42 w: 31 d: 1 (cms).

£220

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Neglect - Tangle

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TypeWrite

By Carol Pairaudeau

Monotype collage

h: 30 w: 30 d: 2 (cms).

A collage inspired by the vintage typewriters that were manufactured in Leicester by the Imperial Typewriter Company. A combination of mono printing and letterpress techniques have been used to create a series of prints focussing on the mechanical components of the Imperial Model 55. These prints have been layered and collaged onto a wooden panel.

£395

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TypeWrite

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Moka Pot

By Deniseinceart

aquatint

h: 21 w: 15 d: 1 (cms).

Zinc plate with Aquatint on Hannemule natural paper Cranfield etching ink

£110

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Moka Pot

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Beginnings 3

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Luna Light

By lisa benson

Linocut

h: 39 w: 29 d: 1 (cms).

Eight layer reduction linocut print printed with Caligo Safewash Inks on Farbiano Unica 250gsm paper.

£245.00

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Luna Light

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Ancient Olive

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Whitby Abbey I

By Jacqui Dodds BA (Hons)

Screen print

h: 44 w: 38 d: 1 (cms).

'Whitby Abbey I' was made as part of my DYCP Arts Council award and inspired by research walks on the North Yorkshire Coast. The beauty and calmness of the headland and the Abbey are characters that I have chosen to portray in this screen print.

£235

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Whitby Abbey I

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Right to Roam

By sarah burt BA(Hons)

Drypoint on tetrapak

h: 7 w: 20 d: 1 (cms).

For me, there is something primeval about Dartmoor. It is also one of the few places where you can feel completely alone but the tracks and paths that dissect the grassland remind you of how long this landscape has been navigated. This image is my response to the public’s legal right to wild camp on Dartmoor Commons by foot or horseback.

£110

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Right to Roam

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The Flea Circus

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"Yallingup Siding"

By jo wood

Paper and acrylic

h: 50 w: 39 d: 1 (cms).

I am a Western Australian printmaker whose practice explores moments of stillness, light, and connection to place. This 7-colour screenprint was inspired by a photograph I took on a rural property in 2024. Late in the afternoon, as the cool breeze moved through the bush, a herd of black steers approached me, pausing in unison beneath a glowing golden tree—illuminated by the last sun while the rest of the land faded into shadow. I first explored the image as a photo etching but knew I could push the colour and light further through screenprinting. Layering seven carefully mixed inks, I built up the warmth and contrast to capture the quiet drama of that fleeting moment. This work reflects my interest in how printmaking can translate memory, light, and landscape into something both structured and emotive.

£400

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"Yallingup Siding"

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Ricarda In Repose

By elizabeth roberts

Ink on Paper

h: 39 w: 29 d: 1 (cms).

In a life drawing session I moved viscous blue ink around on a perspex plate as Ricarda performed her long pose. The work has an immediacy only possible with drawing from life. It was then transferred to paper via a nearby printing press.

£280

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Ricarda In Repose

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Šolja 2 (Cup 2)

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Šolja 1 (Cup 1)

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Ladybirds

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Highland Journey

By rachel wilcox

Etching and Aquatint

h: 12 w: 16 d: 1 (cms).

Rain and Mist smothers the loch and glens of the Highlands

£175

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Highland Journey

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My Dissolving Sense of Self

By marion boddy-evans

Monotype

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

£795.00

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My Dissolving Sense of Self

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Lovers

By elizabeth roberts

Ink on Paper

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

There is subtle movement in stillness. Breathing and heartbeat are tuned to the body of another. Lovers is a photo-lithograph translated from a water colour drawing, which has in turn been translated from an old family photograph. I knew this elderly couple – they were young once.

£250

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Lovers

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Inner Ear

By hanna cantillana wiklund

Aquatint etching

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

Inner Ear turns attention inward, not through sight, but through listening. Emerging from a process where thought takes visual form, the work explores how gesture and color can carry the immediacy of an inner state. Created using the sugarlift aquatint technique, it opens an imagined inner space, a kind of listening organ, where form and pigment pulse in visual acoustics. Gestures gather into planes and contrasts, as if thought is no longer just shaped, but heard. Through its abstract, sensory visual language, the work quietly asks: What would it mean to have an inner ear, a sense for the invisible, the intuitive, the yet-unspoken?

£245

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Inner Ear

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Follow the Tail

By hanna cantillana wiklund

Aquatint etching

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

Follow the Tail moves between body, motion, and thought. It begins not with a fixed image, but with a gesture, as if the hand captures a movement already underway, before the mind can name it. Lines follow one another, swirling like tails in motion. Here, thought doesn’t lead but follows, becoming embodied. The image becomes a kind of motion-thinking: understanding through doing. To follow is not passive, but an active, attentive stance. The artist gives up control, but not presence, opening space for the unexpected. The result is a map of tacit knowledge, formed through the body rather than through logic or predetermined form.

£245

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Follow the Tail

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Full Moon Walk

By Jay Caskie

Wood engraving

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

£95

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Full Moon Walk

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Lone Walks

By Jay Caskie

Wood engraving

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

£95

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Lone Walks

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Autumnn Hillside

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Metamorphosis

By wayne longhurst

Reduction linocut

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

£295

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Metamorphosis

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Reflected Form

By jan fairey

Lino Print

h: 26 w: 35 d: 1 (cms).

This linocut was made using a two-layer process with the same block. I first printed a dense black form, then rotated the block 180 degrees and overprinted in white ink. By varying the pressure and ink load, the white layer creates texture, softness, and a sense of atmospheric depth. The interaction between the positive and negative shapes generates ambiguity—forms begin to echo, shift, and intertwine. I often work in this way, embracing the accidental and the deliberate within the constraints of relief printing. I’m drawn to abstraction as a language that invites quiet attention and open interpretation. This print is part of an ongoing exploration of balance, tension, and the spaces between things.

£150

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Reflected Form

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Current

By jenny ross

Aquatint and soft ground on Somerset Paper

h: 26 w: 41 d: 1 (cms).

With this piece I hoped to create an image that represented both a split second in time and an ancient collective memory. Images of the natural world, like this wave breaking under a night sky, live in our psyche because they are timeless and part of mans experience since prehistory. I’m drawn to the fragility and power of our world and how we as humans are part of that. I aim to create art work that’s poetic and meditative response to this idea of interconnectedness and vast time. This piece is made from two separate plates which join in the centre, as I wanted the two halves to come together like snapshots or a frame in a film sequence

£300

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Current

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CLIFFORDS SHED

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Burning down the house

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conwy estuary

By vanessa short

Photopolyer gravure print on sommerset

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

Conwy Estuary

£350

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conwy estuary

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Smoldering

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Waiting III

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Winter

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September morning, Bradenham

By christopher noel

Ink on paper

h: 31 w: 41 d: 1 (cms).

A multi layer reduction print, using Schminke water based inks on Fabriano paper. Based on a view from near Bradenham in the Chilterns, and a photo taken while walking on a beautiful September morning last year. It is a lino print, made up of (I think!) 11 layers. N.b. only just finished, so yet to be framed, but will be soon.

£250

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September morning, Bradenham

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Leaning Tree of Lindisfarne

By teresa jennings

Photopolymer etching

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

£145

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Leaning Tree of Lindisfarne

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Martello Tower No. 14- Seapoint

By susan early

Etching & Aquatint

h: 44 w: 38 d: 1 (cms).

Framed dimensions would be 71 x 58cm, but N/A for online international entry I presume. Paper size-66 x 53cm

£450

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Martello Tower No. 14- Seapoint

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Hengistbury Head

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Hook Head I

By susan early

Etching & Aquatint

h: 24 w: 18 d: 1 (cms).

Only available unframed- paper size 42 x 34cm

£290

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Hook Head I

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