Ironbridge Fine Arts : Printmaking Competition 2025

Brushstroke - Gilded Galaxy

By katya jackson

Monotype with embossed linocut overlay

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

Multi-layer monotype with debossed linocut brushstroke overlay. Variable edition 2 of 10 on Hannemuhle 300gsm paper with deckle edge. Captures the wonder that emerges when one brushes past the mundane.

£400

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Brushstroke - Gilded Galaxy

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Brushstroke - Glimmer

By katya jackson

Monotype with embossed linocut overlay

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

Multi-layer monotype with debossed linocut brushstroke overlay. Variable edition of 5 on Rives 280gsm paper with deckle edge. Captures the wonder that emerges when one brushes past the mundane.

£350

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Brushstroke - Glimmer

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It Stirred My Soul

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Tomato Season

By katya jackson

11-layer reduction linocut using oil-based ink

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

11-layer reduction linocut on Stonehenge cream 250gsm paper with a deckle edge. Edition of 10 and the first in a series of reduction prints celebrating Southern California's seasonal farmers' markets. Printed area 12" x 14".

£350

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Tomato Season

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Seascape II

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Sun and Moon

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Saint Guinefort

By alyssa smith-moudy

lino relief print, black ink and gold foil on awagami kitakata paper

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

Saint Guinefort, a folk saint and only recognized animal saint in the Catholic church. Prayers are offered to Saint Guinefort to protect and heal children. A faithful companion and protector.

£150

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Saint Guinefort

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In the room

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Taking the Plunge

By angela risinger

Cranfield Caligo Ink on BFK Lightweight Paper

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

£150

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Taking the Plunge

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Seashore Tapestry

By sally-ann davues BA(Hons)

Woodblock

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

"In 'Seashore Tapestry,' I explore the transient beauty of the coastline through the process of reduction woodblock printing. This piece focuses on the delicate, ever-changing patterns left by the receding tide—the 'sealace' that adorns the wet sand. By building up layers of colour from a single block, I aim to capture the subtle textures of the seashore, transforming these fleeting imprints into a textured tapestry of light and water."

£175

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Seashore Tapestry

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Oak

By angela risinger

Cranfield Caligo Ink on BFK Lightweight Paper

h: 41 w: 36 d: 1 (cms).

£200

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Oak

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Evening Glow

By sally-ann davues BA(Hons)

Woodblock

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

"Evening Glow" is a reduction woodcut that seeks to capture a dramatic, twilight sky. Through the process of reduction printing, I explore the interplay of blues and ochre, where storm clouds meet the fading sun. The result is a dynamic dance of patterns across the evening sky. A permanent record of a fleeting, beautiful moment at the end of the day.

£175

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Evening Glow

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Between Town and Country: the height of summer in the Midlands (Tasmania)

By olivia moroney MFAD

multi plate aquatint and etching with a la poupee

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

the print is 20 x 30 cm image size and the paper size is 30 x 40 cm.

£180

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Between Town and Country: the height of summer in the Midlands (Tasmania)

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Fathom Out

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Mycelium

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Web of Life

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Pansies

By emma bond

Drypoint tetrapak on Snowdon using Cranfield Coours Etching Inks

h: 16 w: 10 d: 3 (cms).

These works are part of an ongoing study of botanical forms and natural patterns, capturing the fleeting magic of outdoor spaces through layered mark-making and vibrant composition.This will be reframed, cropped right to the edge so the image will fill the frame.

£150.00

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Pansies

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Urban Umbra No.1

By jennifer humphreys

Wood Engraving

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

Urban Umbra No.1 is the first in a new series of wood engravings to explore the dense shadows and layer forms observed in urban architecture.

£90

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Urban Umbra No.1

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Auricula Lady Drury

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A Gradual Weathering

By victoria o'shea

200gsm cartridge paper

h: 34 w: 27 d: 1 (cms).

The wood grain is as important as the image, and I am interested in the interaction between the two, when the printed image appears to exist within the wood rather than on the surface. As each lithograph is printed, the plate gradually degrades, adding progressively more wood grain until the original image is obliterated. The results are always unpredictable.

£550.00

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A Gradual Weathering

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The Contemplation Place

By Andy Abram

Ironbridge Etching ink on Somerset Satin paper

h: 19 w: 33 d: 1 (cms).

The Contemplation Place is a limited edition, single colour, photopolymer etching (photogravure) print. The image is of the area around Hen Eglwys Llangelynnin, one of the remotest and oldest churches in Wales dating from the 12th Century. A beautifully peaceful spot to sit and ponder, high up on the side of the Tal y Fan mountain near Conwy in North Wales.

£110

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The Contemplation Place

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Cwm Yr Eglwys

By Andy Abram

Ironbridge Etching ink on Somerset Satin paper

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

Cwm Yr Eglwys is a photopolymer etching print of the remains of The Church of St Brynach in Pembrokeshire. It stands right next to the beach and is what remains of the church following a severe storm, when most of the building was swept away.

£130

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Cwm Yr Eglwys

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Cut Loose

By Mark Howard Jones

Linocut

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

A linocut print of a rescue dog and a figure in brogues and tweed trousers, Cut Loose is a humorous yet heartfelt piece about stepping out into the fragrant air—both literally and metaphorically. Each week at work, we played a bonus ball lottery. When I won, I used the money to adopt Bruce, a rescue dog from St. Francis Animal Welfare in Fair Oak. After retiring from teaching, I created this print to celebrate moving on and to gift to my colleagues. The colours and textures reflect the mixed emotions of that time—excitement and uncertainty, freedom and farewell. Bruce, captured mid-step, symbolises both companion and guide, pointing the way forward. The work holds a bittersweet energy: the joy of new beginnings, tinged with the weight of letting go.

£280

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Cut Loose

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Walk On

By Mark Howard Jones

Linocut

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

I loved teaching art history to sixth formers, and that passion now feeds into my printmaking. I’ve created a series of humorous prints about ‘moving on’—because nothing ever truly stands still, does it? This hand-printed, three-colour block linocut, full of bold colour, texture, and playful shapes, features an unlikely pair: an Egyptian Pharaoh and a dachshund inspired by Picasso’s famous sketch of Lump, the dog he borrowed from photographer David Douglas Duncan. Lump adopted Picasso and lived with him for six years. This artwork is a light-hearted take on departure and change, made as I left my teaching career to become a full-time artist. Did you spot all the art historical nods?

£280

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Walk On

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Curiosities 1

By cath deeson BSc(Hons)

Linocut

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

These are some of my beloved curiosities! The little green horse is a small bakelite brooch that I found in a junk shop in Margate!

£295

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Curiosities 1

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Open Book

By Mark Howard Jones

Linocut

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

A woman reads to her dog in a library. A friend of mine volunteers at an animal welfare centre, where one of her roles is reading to the dogs to help them get used to the sound of human voices. She often chooses Great Expectations for the lilt and rhythm of Dickens’ sentences. This black and white, single-block linocut is hand-printed in an edition of 100. It captures a quiet moment of companionship—the woman reading aloud, the dog listening intently… or perhaps just patiently waiting for the next chapter to end. I was drawn to the gentle atmosphere and the calm, trusting connection between them.

£200

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Open Book

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Curiosities 2

By cath deeson BSc(Hons)

Linocut

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

Linocut inspired by the treasurers and curiosities that I found or been given .

£295

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Curiosities 2

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Watch More See Less

By kae carlstedt-duke

Oil based inks

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

My submission explores the union of heritage and contemporary impression where the traditional art of letterpress meets the modern world of design and uses traditional lead and wood type to create my prints. Each letter is a piece of history, pressed into the paper with the weight of time and the freshness of innovation. While embracing the tactile nature of letterforms, I create a unique sensory experience that links to the past while pushing the boundaries of the present. My prints pay tribute to skill of craftsmanship and the power of creativity in this combination of the old and the new. Letters are more than just symbols; they are the building blocks of communication, the visual representation of language. Within a typeface each curve, line, and serif holds its own personality, its own story waiting to be told. By exploring the nuances of letterforms, I strives to unlock creativity where letterforms become art and meaning transcends the historical letterpress form where letters ha

£350

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Watch More See Less

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Storm

By hélène bautista

Intaglio on copper plate

h: 40 w: 25 d: 1 (cms).

£180

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Storm

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The Hat

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Shoreline crab

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Contrary to expectation

By wendy rhodes PhD

Hand drawn etching, using soap ground open bite, hard ground, and aquatint mezzotint

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

£375

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Contrary to expectation

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Inside the Temple

By Dawn West

Printmaking

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

The charcoal elements are printed, not drawn.

£140

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Inside the Temple

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Downward Dog

By mandie curran BA (hons)

Oil based ink

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

Drypoint print on Plexiglass. Printed on Somerset 300 gsm paper.

£175

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Downward Dog

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Aiden mirror selfie (2), 2025

By peter chater

hand printed etching on Rives BFK 250g paper

h: 26 w: 21 d: 1 (cms).

£360

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Aiden mirror selfie (2), 2025

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Rough Trade, 2025

By peter chater

hand printed etching on Rives BFK 250g paper

h: 26 w: 21 d: 1 (cms).

£360

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Rough Trade, 2025

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Pumpkin Patch

By ruth greenwood

Etching and Aquatint on Steel printed on Etching paper

h: 35 w: 24 d: 1 (cms).

Pumpkins in a field with a canopy of leaves, shiver under the cold autumn drizzle. Ripe and ready to be picked. A brooding study of outdoor crop. Still Life.

£220

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Pumpkin Patch

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Efface

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wuchern

By leonie weitzer

Tetra Pak

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

Drypoint etching on Tetra Pak. The printing plate consists of two pre-cut Tetra Paks, glued together and cut into shape. For the black edging, the aluminium layer was cut out, using the ink-stained paperboard for the deep black shades. For the upper part the paper was separated from the foil, wich was then used for material/relief printing.

£230

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wuchern

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'Thors Raven'

By kathy ross BA H dip

Lino Cut print

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

This original print is inspired by Norse mythology and the story of Huginn and Muninn ravens who travelled the world collecting information for the Gods. The names Huginn and Muninn translate from Norse to mean ‘Mind’ and ‘Memory’. In this piece, I wanted the raven to be made up of symbols and emblems to signify the memories of his journey through the world.

£380

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'Thors Raven'

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Untitled (from the Refrain Series)

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'BLADE VIEW 4'

By Andi Dakin BA(hons)

Aquatint Etching with mixed media framing.

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

'Blade View 4' is an Aquatint etching, framed in a re-claimed boat porthole mounted into the surface of an old wooden paper cutting guillotine. The metal lever and the pressed metal and glass porthole suggest some part of a space travelling machine that might occur in a Victorian Science Fiction Novel The work needs to be wall hung like a standard framed picture

£990

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'BLADE VIEW 4'

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Transformer

By Euan G Stewart

Linocut

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

Euan’s work uses the abstracted figure as a symbol of identity both unique to the individual and common to all. Inspired by the weaving process, the industrial rhythm of form and negative space create movement between these states and allow the viewer to project their own sense of self.

£350

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Transformer

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One of my many masks II

By kevin maringer

Woodcut and mokulito

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

Nine-layer reduction woodcut print and mokulito. Ink and home-made earth and rust pigments on Japanese bamboo washi paper.

£415

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One of my many masks II

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Field Marks #18

By Su France Designs BA (Hons)

Collagraph print on Somerset Satin, Earth pigment on tengugo, 24ct gold leaf

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

This print is part of a series of small prints which draws inspiration from field marks—the distinctive marks and colours found across the arable farmland where we live. Each piece uses the visual language of this working landscape, using the subtle variations in earth, crop, and seasonal, translating these into intimate works. Some marks aim to replicate those made by humans – seed drills, lines of crops or furrows, others still are more organic, natural. The incorporation of 24-carat gold serves as both material and metaphor, prompting questions about what we consider precious. While soil is often viewed merely as an exhaustible commodity in agriculture, I believe it deserves recognition as something far more valuable; a living system that sustains all life.

£125

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Field Marks #18

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Kuroi Ame

By clementine neild

Mezzotint

h: 17 w: 13 d: 1 (cms).

Kuroi Ame | Black Rain. I am learning Japanese and often title my work in Japanese Romanji to help my understanding. This piece is about depression, anxiety and acceptance of the human conditions of stress that many seem to feel with the world as it is. It's about dark days and being beautiful in the rain. Kuroi Ame | ??? | Black Rain.

£260

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Kuroi Ame

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'Spring Awakes the Birches'

By ewa schreiber

Ink on Japanese Paper

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

This hand-carved and hand printed reduction relief linoprint celebrates the delicate moment when nature stirs from winter’s sleep. It features bare silver birch trees silhouetted against the snow-dusted Cuillin mountains, set on a hillside just beginning to turn green. The contrast of icy peaks and the fresh green grass evokes the fragile promise of a new season.

£250

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'Spring Awakes the Birches'

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'Whispers of Bygone Days'

By ewa schreiber

Ink on Japanese Paper

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

This linoprint invites a quiet reflection on time’s passing—the ancient silhouette of the Cuillin and weathered lands whisper stories of bygone eras.The colour palette captures light as it drifts across undulating terrain, balancing stark silhouettes with intimate detail. This work reflects my fascination with myth and memory: the land feels animate, imbued with ancestral presence, yet retains a serene, almost consoling mood. With this piece I aim to offer a portal into both the rugged grandeur and tender mystery of landscape as a living memory.

£250

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'Whispers of Bygone Days'

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White Mountain VII

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Snowfell III

By johann booyens

Printmaking

h: 46 w: 48 d: 1 (cms).

Drypoint on Fabriano cotton paper. Printed with Sun Chemical 50/50 ink. The matrix is a plexiglass sheet. The work shows a snow covered tree with fallen branches in a country park. The contradictions of growth and death (of winter), white snow and black life, shows opposing forces that is embedded in human enterprise and natural systems.

£500

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Snowfell III

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Ryde Beach

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Ethereal Heron

By sivan baron

Linocut Printmaking

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

My Ethereal Heron is a celebration of one of my favorite and elegant animals, the heron, via stylized 3 color linocut print. This artwork was created by cutting a linoleum block to 10 pieces, and then printing like a puzzle, by hand. I love creating "floating moments" in my art, that are not set in a traditional scenes, and my Ethereal Heron is designed in that manner.

£80

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Ethereal Heron

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Waterloo Station

By narisara jirojananukun

Etching on Somerset paper

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

Looking at the crowd from above, watching the flow of people. Everyone is on their way somewhere, but when you look closely, the scene becomes a tapestry of lives weaving together in the same place.

£380

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Waterloo Station

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A Squirrel Drey

By Beth Pickett

zink hard ground etching and aquatint

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

This etching is the third in a narrative series ‘Strong’s the Word’. It depicts an imagined private event; a hidden beauty not intended for humans to witness. In my work, I love thinking about secret beauty and unwatched triumph and goodness that takes place in the world. I believe that, though often the deprivation of the world seems loud and impenetrable, there is a huge amount of good that is also happening in the world, quiet and secret and beautiful and strong.

£400

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A Squirrel Drey

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Cat In Spring Time

By sivan baron

Linocut printmaking & hand embroidery

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

My linocut print "Cat In Spring Time" was love letter to my favorite season, the spring. Printed in the traditional technique of linoleum printmaking, and finished with hand embroidered flowers on top. The sleeping cat is about to awake from his winter slumber, and welcome the spring. The embroidered flowers are light and airy and are hovering above the Cat, and are working with perfect contrast to the solid shapes and “heaviness” of the linocut.

£100

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Cat In Spring Time

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High Horse

By george stokes

Aquatint Etching

h: 17 w: 12 d: 1 (cms).

This is an aquatint etching based on a digital collage created on Photoshop using found images from Google. "High Horse", responds to a relationship where both people realised they were at different stages in their lives.

£100

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High Horse

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The Braes, Up West, Ullapool

By Fenella Ross BA (Hons)

Non Toxic Etching

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

An editioned print on mild steel, depicting a derelict croft, cliffs & the view from below, exploring geology, texture & mood remembering what is lost, an iconic image, imagining the lives lived.

£160.00

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The Braes, Up West, Ullapool

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Four's A Crowd

By Miranda Whitten-Walker PhD

10-layer reduction lino with oil-based safewash ink.

h: 18 w: 30 d: 1 (cms).

Inspired by over-enthusiastic puffins sketched on Skomer during the breeding season, when the island buzzes with life and anticipation. The undulating terrain is carpeted with flowers like sea campion, and beneath those undulations are the burrows of puffins and other seabirds. This reduction print is composed of ten layers, and it wouldn’t exist without the expert advice of Jenny Gunning on the final layer!

£190

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Four's A Crowd

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"Cruinneachadh Fithich" Gathering of Ravens

By Fenella Ross BA (Hons)

Non Toxic Etching

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

A gathering of Ravens depicts imagery connected to Celtic Mythology, our old stories tell of Ravens doing so at times of loss or death, connecting these amazing birds to the tales of Cailleach, an old woman who shape shifted and feasted on the dead.There are a number Raven nesting sites close to my home, inspiring my work, creating those cliffs which the have inhabited, exploring Mood in this print.

£160.00

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"Cruinneachadh Fithich" Gathering of Ravens

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Aite Caol, Dundonnell - The Thin Place

By Fenella Ross BA (Hons)

Non Toxic Etching

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

A print depicting what is known as a thin place, a place on the earth where the spiritual and solid world are closer, where the veil between can be felt to be less. This Burial ground provokes a feeling of emotion , encouraging thoughts & meanderings of those lost, connections to the local area are familial and kept close to ancient homes and dwellings.

£160.00

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Aite Caol, Dundonnell - The Thin Place

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The Skirrid No.1

By Miranda Whitten-Walker PhD

5-layer reduction linocut with oil-based safewash ink on Snowdon paper

h: 24 w: 35 d: 1 (cms).

I first saw The Skirrid (Ysgyryd Fawr) riding my motorbike to Abergavenny. I was immediately captivated by its extraordinary land-slipped shape, like a cashew nut on its side! I couldn’t stop thinking about it and after several visits to the hill, I knew I wanted to make a print featuring its impressive north face. I wrestled with the composition for quite a while. The hints of a Celtic braid emerged out of the zig-zagging pathways near the summit. One of the many legends associated with this 'trembling' hill says that its north face split apart during Christ’s crucifixion, earning it another moniker: ‘Holy Mountain’. Perhaps subliminally I had impressions of a shroud, or of healing and binding.

£200

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The Skirrid No.1

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The Thumbprint

By Miranda Whitten-Walker PhD

5-layer reduction linocut with traditional oil-based Ironbridge inks on Snowdon paper

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

Inspired by a sketch made on an autumn walk in the Welsh Marches, just after the bracken had been cut. From my vantage point, the curving lines of the neatly cut foliage looked like a huge thumbprint in the side of the hill.

£200

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The Thumbprint

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Lost Kingdom

By kate alger BA(Hons)

Ink on 270gsm cotton rag paper

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

A majestic lion, slightly battle-scarred yet filling the frame, looks out onto what should be his kingdom... This is a monochrome monotype, created entirely by hand.

£2500

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Lost Kingdom

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Untitled

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the hand that feeds

By brodie kidd BA(Hons)

Woodblock on Somerset Smooth (250gsm)

h: 49 w: 50 d: 1 (cms).

'the hand that feeds' is a woodblock print, with 1 printed on somerset smooth and the other printed on Gampi paper. It was inspired by the popular idiom "biting the hand that feeds you", meaning to reject that which is given to you, and serves as a reminder to be grateful for what you have been given. Perhaps not everything you receive should be accepted, some things you receive only because it may benefit the person who has gifted it, the hand. This print aims to remind those that those that feed you may also starve and posion you.

£700

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the hand that feeds

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Girlfriend in a wheelchair

By chris christodoulou MA Art & Arch, Dip Arch

Drypoint Print

h: 18 w: 50 d: 1 (cms).

I am multi-disciplinary artist, architect and teacher based in east London. My art practice explores notions of ‘home and memory’, connected through the obsessive activity of drawing as visual diary, largely inspired by dreams/nightmares. These often evolve into larger Mixed media works. I am an Architect and Artist, and these worlds often overlap. I studied Fine Art at Chelsea School of Art, MA Art in Architecture at East London University and MA Art in Special Projects at London Metropolitan University. I have taught drawing and sketchbook art and drypoint printmaking at Hausprint Studios and Morley College. The drypoint print submitted titled: ‘Girlfriend in a wheelchair’ is part of the epic narrative series that I have been pursuing over the last 3 years - through an Epic charcoal drawing (about love and loss, family, death, life, leaving, home and work) and now extended through the drypoint print technique. The intention is to create a fold out sequence of connected narrative.

£280

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Girlfriend in a wheelchair

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Max Planck

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pub fights

By brodie kidd BA(Hons)

Reduction Woodcut on Tosa Washi paper

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

"Pub Fights" is a reduction woodblock print, depicting the various pub and streets fights seen near my local pubs. Intially designed as endpaper, it was inspired by pattern papers found in Germany and France in the 18th century.

£720

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pub fights

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Year of the Snake

By mark curtis MFA

multi block lino print. water based red Flint ink and oil based metalic gold Cranfield ink

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

Self portrait as I was born in the year of the snake.

£100

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Year of the Snake

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Araucariaceae

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Playtime Never Ends

By annabelle carraway

collagraph: oil-based ink on kitakata paper, using cut, carved, and shellac matboard as plates

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

A mother fox and her playful kit with blind embossments of grass around them. The leaf brown ink and sepia ink is blended together to make a gradual change in colors on the foxes.

£400

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Playtime Never Ends

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Night Flight

By annabelle carraway

oil-based ink on BFK paper, using cut, carved, and shellac matboard as plates

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

This piece features four different plates: three bats and a blind embossed moon. It is a smaller version of my original, which includes five plates.

£175

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Night Flight

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take care of the space

By constanza reyes malschafsky

aluminum plate

h: 13 w: 12 d: 1 (cms).

Through engraving, I have managed to capture and project my own imagery that relates to the recognition of the landscape as a meeting place and that dialogues with memory and experience. This particular engraving, made with etching and ink, thanks to its variety of gray intensities, allows me to recreate this scene connected to the everyday spaces in which I live. It connects me from memory to affective spaces.

£156

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take care of the space

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The Harvesters - Galahs

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Water under the Bridge

By maggie dawson BSc

REDUCTION LINOPRINT

h: 39 w: 24 d: 1 (cms).

Using Cranfield caligo safewash ink on Hahnemuhlle Bristol board

£400

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Water under the Bridge

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Wanderlust

By nicole pasqualino

Lino-block

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

4 Colour Reduction Cut Print

£50

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Wanderlust

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Thistles and Seed Pods

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Behind the scenes

By austė skardžiukaitė-kabašinskienė LT-

etching and aquatint

h: 6 w: 20 d: 1 (cms).

The work depicts a state beyond the front door, where we can be in peace with ourselves. For some, this side is calm and private, for others chaotic and unfamiliar. The work invites the viewer to discover and visit personal behind-the-scenes. Moment from the Lithuanian village, Niuronys.

£100

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Behind the scenes

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Anchoress

By Rebecca Holmes

Photopolymer Etching

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

These etchings are part of a larger body of work named Anchoress. The series reflects on the powerful, often unseen role of women as emotional and spiritual stabilisers. Like geological forms weathering time and pressure, the women in our lives—mothers, friends, sisters, lovers hold space, absorb storms, and offer grounding. Anchoress is both a tribute and a call inward. Rebecca’s compositions draw from vast landscapes, both earthly and cosmic, to conjure environments where time slows.These works sit at the intersection of drawing, photography and collage, evoking dreamlike terrains that are as internal as they are expansive.

£320

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Anchoress

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Memento Mei - John

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Swaying through Icy Water

By Rebecca Holmes

Photopolymer Etching

h: 34 w: 30 d: 1 (cms).

These etchings are part of a larger body of work named Anchoress. The series reflects on the powerful, often unseen role of women as emotional and spiritual stabilisers. Like geological forms weathering time and pressure, the women in our lives—mothers, friends, sisters, lovers hold space, absorb storms, and offer grounding. Anchoress is both a tribute and a call inward. Rebecca’s compositions draw from vast landscapes, both earthly and cosmic, to conjure environments where time slows.These works sit at the intersection of drawing, photography and collage, evoking dreamlike terrains that are as internal as they are expansive.

£320

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Swaying through Icy Water

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Autumn's Twilight

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Field (Grettisgata 56)

By emilia telese

Drypoint on tetrapak

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

Field (Grettisgata 56) is part of a series depicting fragments of my life in Iceland. This piece focuses on one of Reykjavík’s 200 preserved, listed buildings—historic houses over 100 years old that form the city’s architectural heritage. As both shelter and symbol, the house evokes notions of permanence, transition, and emotional topography. It becomes a vessel for domestic rituals, migration, and cultural layering—traces of habitation inscribed in wood, stone, and time. Through this work, I examine how lived experience is embedded in the material fabric of place.

£450

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Field (Grettisgata 56)

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Butterfly Brain

By Becky Haywood BA(Hons)

Glass

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

"Butterfly Brain" came about because a friend refers to her ADHD as having a butterfly brain that flits around and alights somewhat randomly on things. I was very taken by the concept and have screenprinted glass powders which have then been fired to fuse them into delicate 3d butterflies depicting some of the things that relate to thoughts, thinking and ADHD.

£600

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Butterfly Brain

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Untitled

By eleanor strigner

Etching + Aquatint

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

£170

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Untitled

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Follow My Lead

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May the road rise up to meet you

By michael van valkengoed

Water based ink

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

This is my impression of the morning light bouncing of fennelys of callan. It's a reduction lino cut and I am exploring how I see my Irish village using traditional reduction cut techniques.

£125

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May the road rise up to meet you

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Stargazer

By david rees

Reduction linocut

h: 38 w: 27 d: 1 (cms).

This was my first reduction print, with 12 layers and about 14 colours used. Planning and problem-solving are the aspects of printmaking that I love most, breaking down a design into a series of logical steps, and this was a very satisfying example of that. This print connects my science and my art, which is always a nice direction to go. Image size is 19 x 27 cm on 26.5 x 19 cm Awagami Masa paper, printed with a book press using Cranfield Caligo Safe Wash inks.

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Stargazer

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Hedgehog

By viola wang MA

Kitchen lithogtraphy

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

"Hedgehog" is a limited edition autolithograph developed as part of a series during an artist residency in Ireland. This print explores the theme of multiculturalism by featuring three distinct languages: Irish, English, and Chinese. The central focus is a hedgehog, a creature that exists in all three cultural environments. The work itself was produced using the Kitchen Lithography method, an accessible and non-toxic approach that I researched during the residency with the aim of democratizing the printmaking process. Through this shared symbol and accessible technique, the artwork seeks to create a powerful connection, using the universal language of imagery to foster understanding and dialogue between different cultures and languages.

£250

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Hedgehog

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Blackbird

By anne smithies

Linocut

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

Blackbirds have a special place in my heart and family. Their alertness and curiosity miss nothing yet when they catch my eye and hold my gaze there is a core connection that taps the soul. I began lino printing during lockdown. This print sees me beginning to use my own photographs and drawings as source material and extending my experience of carving intentionally to create a narrative.

£145

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Blackbird

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Your Love

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Starfish Girl

By kiki loo

Litho crayon on limestone

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

Grained, processed the stone and printed the prints by myself. Starfish Girl is a story of survival and self-empowerment. Like a starfish, she endures amputation—parts of herself torn away by pain, trauma, and loss. But in letting go, she begins to regrow. Each wound becomes a site of transformation. To survive the world, she must release the past and rebuild herself, one limb at a time. Or one print at a time.

£400

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Starfish Girl

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Rebel Raven

By ruth thomas BA MA RCA

Collagraph on Fabriano Tiepolo

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

The printing plate for Rebel Raven has been made with feathers collected while out walking, and printed intaglio and relief. Words meaning black have been embossed in the background – formed from the white paper – curved to suggest the hills of the Clwydian Range. The title comes from an anonymous poem.

£295

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Rebel Raven

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Safrron

By lucia ovčáriková čarnogurská

Drypoint

h: 16 w: 13 d: 1 (cms).

Every spring, a carpet of saffron blooms in our yard. Winter is not quite over yet and it is very cold at night, often snowing. At first glance, saffron is a fragile flower, but it is nevertheless very strong and durable.

£40

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Safrron

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Grazing Dandelions

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Titanus H1

By Julia White

solar etching on Somerset paper

h: 32 w: 26 d: 1 (cms).

this is a solar etching of my digital artwork. My mini beast series in an ongoing collection of work

£165

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Titanus H1

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A Lesson Not Yet Learned

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Commuters

By desmond healy

Etching and aquatint

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

A multi plate etching, using overlap and different inks to try to suggest something of that sensation of passing through the city and the many people who inhabit it. Drawn on copper plate from sketches made whilst travelling across town to work, again the way that printmaking always suggests that there might be more in this initial image, that can be experimented with - somehow the process keeps generating more possibilities…

£700

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Commuters

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Classical Repose

By lindsey moran

Polymer Photogravure

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

This polymer photogravure captures the tranquil interior of the Musée Jacquemart-André, where a classical statue stands in eternal stillness. Repose encompasses both the physical quietude of the sculptural figure and the contemplative pause that museum spaces offer visitors. The atmospheric quality of the photogravure technique reinforces this sense of peaceful reflection, creating a harmonious balance between classical architecture and living nature. The work invites a moment of quiet reverence - a sanctuary of stillness within the rush of modern life.

£395

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Classical Repose

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Sea Lions

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