PERIPHERY 14

By michelle keegan

Multi plate etching on zinc

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

Periphery explores the dynamics and ambiguities of relationships. The work evolves around a discourse of conversations lost. Of people we have lost. Of conversations we never had. The things we wished we’d said. Elusive ghosts of place and deep-seated memories are made present. A more private curious, dislocation of place. A place for listening. A place of belonging. A personal cartography. Printmaking is essential to the work; it is symbiotic with the idea. The etching process and materiality of Printmaking becomes a spontaneous transcription of feelings and memories, both familiar and elusive. The results are intricate and complex multi-layered prints that resist literal interpretation and lack referential scale, honouring instead a physically charged and deeply personal mapping of the environment.

£450

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Concourse, Pink and Purple

By ian scaife BA (Hons)

3 colour screenprint on 300gsm Snowden paper

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

This is the fifth in my series of six ‘Concourse’ screen prints made late last year, originating from drawings I made of commuters moving through London Bridge station while waiting for my train. I am interested in the interaction between colour and shape and I use paper stencils which I find very satisfying and think of as a means of drawing by cutting into paper. The stencil for the figures here were more tricky to cut than usual because of the large dark shape at the top with the figure absorbed into it. My usual way of working is to cut the figure stencils out separately and then arrange them on the screen against the flat colours already printed. In this case the darker area had to be positioned from the start so left less room for changing the composition later. The print size is a reference to the 7 inch single sleeves I collected as teenager

£350

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Grievance Pay

By tamara deedman

4 Layer Lithograph and Photopolymer Gravure on Mitsumata

h: 71 w: 112 d: 1 (cms).

“Does death have the capacity both to turn people into things and to bring inanimate objects to life?”(Brown, 2001) “Or will our stories highlight the extent to which human beings and thinghood overlap, the extent to which the us and the it slip slide into each other?”(Bennett, 2009). Objects documented, drawn, and printed. Beside each, its companion, the same print paired with a ripped book page from my fathers personal records printed on top. This is my fathers introduction, a set of reliquaries denoting our fraught relationship. Within the lexicon of labour, The language of print is integral to this body of work, referencing the history of my fathers family, all who worked hard labour jobs to make ends meet in both England and Canada. This work acts as an indicator and reference of that labour and of my impulse to implement my fathers same coping mechanisms, to keep and collect.

To enquire about this artwork, please go to the artist page.

We Are What We Own

By tamara deedman

5 Layer Lithograph and Photopolymer Gravure on Mitsumata

h: 71 w: 106 d: 1 (cms).

“Does death have the capacity both to turn people into things and to bring inanimate objects to life?”(Brown, 2001) “Or will our stories highlight the extent to which human beings and thinghood overlap, the extent to which the us and the it slip slide into each other?”(Bennett, 2009). Objects documented, drawn, and printed. Beside each, its companion, the same print paired with a ripped book page from my fathers personal records printed on top. This is my fathers introduction, a set of reliquaries denoting our fraught relationship. Within the lexicon of labour, The language of print is integral to this body of work, referencing the history of my fathers family, all who worked hard labour jobs to make ends meet in both England and Canada. This work acts as an indicator and reference of that labour and of my impulse to implement my fathers same coping mechanisms, to keep and collect.

To enquire about this artwork, please go to the artist page.

I am a Girl of Great Fortune and Deeper Grief

By tamara deedman

Lithography and Digital Collage of Inherited Ephemera on BFK Rives

h: 25 w: 21 d: 1 (cms).

To enquire about this artwork, please go to the artist page.

Nimbus SAG-A Singularity

By greg fry

Monotype/Serigraph

h: 61 w: 79 d: 1 (cms).

The content of this print is reflective of my artwork up to now. The smallness of nature compared to the vastness and sometimes destructive nature of the universe. Yet, both are part of the same existence. The hope is that the viewer will ask questions when bringing them together.. This print was created using monotype, serigraph, and paper that was glued to the print using chine collée process. There is also some foil on the insect that was adhered using screen printed glue. This print is experimental and reflective of the direction that I am going. Although chine collée and foil usage was not on the list. I believe it is still in the spirit of the creative outlet the show is seeking for prints.

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Palindrome

By greg fry

Lithograph and Serigraph

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

This print is the exploration of the complexities both in the universe and in our everyday existence. In the print, I have used a lithograph toner wash along with screen printing. I have been experimenting with the use of foil within my prints. The adhesive is applied using screen printing and then the foil is added by using the pressure of the press and running it through.

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"Lilith is in the blood and bones of every woman" - Australian native finger lime.

By barb livingston BA(Fine Arts) Dip. Ed

Lino Block print, Print on Fabriano Academia paper.

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

Second of three prints in the “Garden of Eden” series. “Lilith is in the blood and bones of every woman” is a defiant image. Although the scene is static, it holds frustration in the force exerted, the pressure leveraged, the tension demonstrated in the flex in the bristles of the broom. The long shaft of the handle is forced against the neck of the coat. Set within a room that speaks of history. Time is illustrated in the wide planks on the worn-down floor and the guilt of damage, due to carelessness seen of the damage to the skirting boards. Implied, is a moment after the betrayal, leaves are covering coy, limp phalluses in the wallpaper, represented by the Australian native finger limes. Looks like Adam had two failed relationships - women who had their own ideas, did God do this on purpose? Was it really the snakes fault?

£250

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Light beam

By steffen dibke

Hahnemühle etching paper

h: 39 w: 28 d: 1 (cms).

The Gergeti Trinity Church is a Georgian Orthodox church complex in the Kazbegi region and a popular pilgrimage site. During my visit early one morning, I was fortunate enough to capture the light streaming through the window in the dome. A magical moment. 20x25 cm on 28x39 cm 350 g/m² Hahnemühle handmade paper Signed & limited to 6 photogravure prints / 2AP Printed by Steffen Dibke (2026)

£520

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Peppercombe

By nicki cornish BA ( Hons)

carborundum print

h: 20 w: 29 d: 1 (cms).

Three plate carborundum print printed on Somerset textured paper 300 gms. A variable edition of five. ( framed submission - Artist's proof).

£350

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Night Time Vigil

By bronte adam BA(Hons)

Woodblock

h: 31 w: 34 d: 1 (cms).

Bronte is a fine art printmaker based between the UK and Baja, Mexico. She creates relief woodblock prints with hand painted elements. Bronte explores the essence of being through personal narrative and a connection to nature. Bronte’s stylised prints take inspiration from the culture, colour and landscape of Mexico. Night Time Vigil came from experiencing loved ones entering into parenthood while starting to feel the pull of becoming a mother herself. It captures the soft, caring moments between a mother and newborn in twilight.

£330

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“The cage where you live is made of thoughts” - Australian strangler fig

By barb livingston BA(Fine Arts) Dip. Ed

Lino Block print, Print on Fabriano Academia paper.

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

Third in the series of three prints in the “Garden of Eden” series. “The cage where you live is made of thoughts” features a wallpaper covered in a strangler fig pattern. Cast aside on the chair is a stripped jacket, no longer needed, power cable unplugged, job done. Sparse, in this clean space, conventionally for a wet space, the tiles are ancient, carved from old stone. Still and calm, it is a quiet room, vacated, the serpentine cord discarded, coiled loosely on the floor, in the way, and a trip hazard. Fortunately, I am entering my 'crone' era, years of conformity and manipulation are being set aside. Deeply influenced by justice, my work explores who we really need to be wary of.

£250

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Great Blue Herons

By lysandra hollister

Copper Etching with Hard ground and Aquatint

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

In this piece I wanted to explore the relationship between mother and child. Before becoming the elegant, experienced adults, the young must first replicate and grow from their unkempt beginnings. The pair display an endless cycle, seen in many species across the globe, the close bond between mother and child before the chick eventually flies the nest and repeats the same course set before them by generations long gone.

£85

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Rerooted (on Quidi Vidi Shore)

By oscar jarsky BFA

Stone lithography, kozo collé on Hahnemuhle cotton rag

h: 56 w: 72 d: 1 (cms).

"Rerooted” was made at St. Michael’s Printshop in St. John's and is among my first works made after my BFA and leaving home in Nova Scotia for the first time. Since arriving in Newfoundland, drawing has become a way of grounding myself within an unfamiliar landscape, while the community of artists at St. Michael’s has offered a sense of welcome and belonging. Trees in Newfoundland are accosted by relentless coastal winds; only the most resilient grow taller than you or I. Seasons ago, an unusually tall tree fell along the shore of Quidi Vidi Lake. It did not die. Instead, it rerooted itself and continued its pursuit upward. I drew the tree while sitting in the straw during the first spring sun. Grass swelling over earth and wood speaks of the persistence of wind and water, of erosion and renewal. I find myself wondering whether the tree knows it has fallen — whether it senses a before and an after — and whether its neighbours sustained it when it could no longer sustain itself.

£200

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Between Selves

By Gillian Wright BFA

drypoint,collagraph and block on Waterford paper.

h: 20 w: 24 d: 2 (cms).

5 plates used, 3 drypoint, 1 collagraph and 1 block.

£295

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Surface Memory

By Gillian Wright BFA

Drypoint on Fabriano

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

From observation to abstraction

£295

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De Profundis

By Brian D. Cohen

etching

h: 45 w: 90 d: 1 (cms).

The etching depicts what we've barely managed ever to glimpse beneath the surface yet is threatened by us. This print represents a shift of perspective from arrogance to uncertainty, the self to the other, the oppressor to the oppressed, the seen to the unseen. De Profundis is the largest etching I have yet undertaken, as befits the magnitude of the subject. The seven large etchings in this series will be presented at the Boston Museum of Science in a collaborative multi-media performance at the Boston Museum of Science in September 2026.

£1100

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What a Mother Keeps

By samantha foster

Ink on watercolour paper

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

What a Mother Keeps is an intimate drypoint that explores memory, inheritance and the fragile persistence of care. The image depicts a christening dress suspended against an empty ground, its small scale and intricate surface drawing attention to the labour of both making and remembering. The dress belonged to a friend whose mother was living with dementia and had recently passed away. The garment became more than an object of clothing: it became a vessel for memory, carrying traces of maternal love, ritual, and continuity even as personal history was slipping away. I was drawn to the christening dress because of the emotional weight ordinary domestic objects can accumulate over time. Clothing absorbs touch, gesture, and presence. A christening gown marks a beginning and is often kept carefully for decades, handed down to new generations. Through the slow, tactile language of drypoint, What a Mother Keeps becomes both a portrait of absence and a quiet act of preservation.

£275

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Soft Witness

By Gillian Wright BFA

drypoint, metal plate, on Fabriano

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

from observation

£290

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I'll Just Grow My Own

By candacee white

Linocut on Yatsuo paper

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

This piece is an homage to the resilience and resourcefulness of women throughout history.

£120

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From the Homeland Series

By shokoufeh fallah

Silkscreen and Drypoint on Japanese Rice Paper

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

In my over two decades of printmaking experience, I have always been inspired by my surrounding setting. “From the Homeland Series”, created post immigration to England, is the sequel of my artworks with trees as their main subject. Adding old buildings and Persian miniature elements to the trees depicts the change I have been going through both in terms of my individuality and what my homeland is experiencing now. The loneliness and ambiguity of the trees and their surroundings is believed to showcase an imposed void space. These new elements are trying to seize a moment that creates a wide image in the audience’s mind. They are tiny windows to a scene much larger than themselves. They focus on a brief moment in time which connects us to the texture and details of everydayness and recurring emotions. Creating numerous grey tunes using acid application helped express a paradoxical feeling caused by a garden of trees where life and death co-exist.

£350

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Portal

By melody leary

Print

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

£100

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From Graig Fawr

By ruth thomas BA MA RCA

Collagraph on Fabriano Tiepolo

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

Graig Fawr is a limestone outcrop at the northern end of the Clwydian range, with far-reaching views of the North Wales coastline. Looking down from the highest point onto the wide valley below, it seemed that all the hedgerows were leading out to the coast and this is what I wanted to convey in my print. The collagraph plate has been constructed with card, texture paste, carborundum grit and grass collected on the hills. The plate was inked intaglio and relief, and overprinted onto the background, which was printed from a rainbow roll on acetate.

£295

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Coffee Break

By katalin dávida

Relief print (linocut)

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

This multi-block linocut explores coffee drinking as a social and emotional ritual beyond caffeine consumption. It was developed through research into invisible female labour and everyday care routines, where coffee breaks become rare moments of pause, connection, and selfhood. Printed from nine lino blocks in four colours using a two-stage process, the composition is built from different coffee cups that act as symbolic portraits. Each cup reflects individuality, memory, and everyday intimacy, while together they suggest shared experience and community. As both an artist and a mother, I am particularly interested in how domestic routines shape identity and how ordinary objects can carry emotional and social meaning. Multi-block linocut, edition of 2 Fabriano Rosaspina 220 gsm 50 × 50 cm

£275

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Overlooked Country II

By Claire Hankey

Drypoint on Hanhemuhle paper 300gsm

h: 32 w: 18 d: 1 (cms).

Overlooked Country II began with a walk. The thorned branches etched and carved into the plate were drawn from photographs and memories of hedgerows at the wild edges of the Thames Estuary, places most people pass without stopping. Should this be selected, it will be float mounted in a simple natural wooden frame with non reflective glass.

£300

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Dune Pines

By rebecca strabo

Monotype print

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

Monotype 1/1, created 2026, made with oil based etching ink

£650

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Deception Pass Grove II

By rebecca strabo

Monotype

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

Monotype 1/1, created in 2026, made with oil based etching ink

£750

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Metalithic Reality

By olly baker

Intaglio drypoint onto vinyl LP

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

This artwork was produced by engraving onto a vinyl LP and was inspired by the fantastical artwork seen on record covers. The composition was created using collage of magazine cuttings before it was transferred onto the surface. The use of a vinyl LP as the material on which to create a drypoint, was purposefully done to amalgamate the visual and auditory arts.

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Bombus Terrestris

By gini wade

Stone Lithograph with hand colouring

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

Portrait of a Bumble Bee

£145

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Apis Mellifera

By gini wade

Stone Lithograph with hand colouring

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

Portrait of a Queen Honey Bee

£145

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Hibiscus: I didn't know these could grow here

By ashley knowles

Linocut

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

Inspired by everyday objects and experiences, this piece explores the creator's (an immigrant herself) surprise at seeing a common tropical plant, the hibiscus, growing casually in the UK.

£170

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The Road, C. McCarthy

By william puddy BA(Hons)

Etching, Drypoint and Burin

h: 28 w: 41 d: 1 (cms).

This scene was inspired by the novel “The Road” by Cormac McCarthy. Out of rubble, a father and son traverse a decimated landscape along a road that they hope leads to safety. The novel is set after an apocalyptic event, and it follows a father and son whose only hope is to reach the coast along a single road. I attempted to reflect the somber tone of this novel as the work represents an entirely current anxiety spurred by geopolitical tension and the byproducts of climate change. The work aims to challenge complacency and inaction towards said subjects, by attempting to record their reality.

£775

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Golfscapes: Fairways

By pavel slutskiy Dr.

Cream Fabriano paper, ink

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

In this drypoint series, I explore the golf courses, where land, water, sand and sky converge in interesting compositions. Focusing on the sculptural dunes, horizons, and the geometry of fairways carved into wild terrain, the works seek to convey the profound atmospheric and emotional resonance of these landscapes. While traditional golf imagery has often favoured decorative and sentimental approaches, my intention is to present a more contemporary and contemplative interpretation. By employing the direct, tactile qualities of drypoint—characterised by rich velvety blacks, expressive burr lines, and nuanced tonal variations—the prints attempt to achieve a modern sensibility that emphasises mood, texture, and light rather than mere illustration. This technique allows for a balance between precise linear detail and atmospheric depth, transforming familiar golfing terrains into cinematic, almost abstract compositions that transcend conventional sporting art.

£150

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Golfscapes: Fairways

By pavel slutskiy Dr.

Cream Fabriano paper, Ink

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

In this drypoint series, I explore the golf courses, where land, water, sand and sky converge in interesting compositions. Focusing on the sculptural dunes, horizons, and the geometry of fairways carved into wild terrain, the works seek to convey the profound atmospheric and emotional resonance of these landscapes. While traditional golf imagery has often favoured decorative and sentimental approaches, my intention is to present a more contemporary and contemplative interpretation. By employing the direct, tactile qualities of drypoint—characterised by rich velvety blacks, expressive burr lines, and nuanced tonal variations—the prints attempt to achieve a modern sensibility that emphasises mood, texture, and light rather than mere illustration. This technique allows for a balance between precise linear detail and atmospheric depth, transforming familiar golfing terrains into cinematic, almost abstract compositions that transcend conventional sporting art.

£150

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Cora`s Window III

By snezhina biserova PhD

Paper

h: 29 w: 50 d: 1 (cms).

£530

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Strata #1

By judith langlois BA(Hons)

Monoprint with some collage and stitching.

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

Developed from observations and experience of geological strata. Long card shapes and pebble shaped card are monoprinted over a ghost print of various textures. The work is built up layer by layer and the final layer, of monoprinted shapes on a very fine fabric, was collaged and stitched in place.

£180

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August-Land

By christina nielsen-marsh D.Phil

Linocut

h: 55 w: 40 d: 1 (cms).

This limited edition lino print was hand printed in black oil-based ink on white acid-free paper from a single carved plate. The edition consists of nine impressions and one artist’s proof; all hand-printed on a press. The decision to work in a single colour was deliberate: using only black ink allowed the landscape to emerge through line, contrast, and texture rather than colour, reinforcing the timeless atmosphere of the work. The image is inspired by the rural agricultural landscape of Monmouthshire, where hedgerows, fields, tracks, and boundary lines lend themselves naturally to strong graphic interpretation. The carving focuses on the directional flow and rhythm of the land, using varied mark making to suggest depth, movement, and structure without tonal variation. The restrained approach gives the print an almost archival quality, reflecting my interest in landscapes shaped gradually over centuries.

£355

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The Bull of Cissbury

By wayne longhurst

Linocut (single plate reduction)

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

£650

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Lemon and Blueberries

By anthony williams williams

Cranfield Safe Wash Etching ink on 220 gsm Fabriano Rosaspina

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

The image is derived from recent reflections I have been making about art history and the 'use' of still life. I am still quite new to drypoint, in my opinion. The addition of colour is a bit of an adventure and experimentation. In this case I have hand coloured with water soluble pencil and randomly placed salt crystals in the wet areas to give texture.

£95

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George in the Amelanchier

By peter chater

Etching on BFK Rives paper

h: 32 w: 42 d: 1 (cms).

£350

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Shadow on the sea

By charlotte staunton

Linocut

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

£155

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Flower Power

By stacey pamplin MA

Akua ink on Khadi, 320 gsm paper.

h: 21 w: 20 d: 1 (cms).

Flower Power emerges from an observation of my studio’s immediate environment, where a garden of swaying, spring tulips became both subject and collaborator. Rooted in the side-to-side motion of these flowers in the wind, Flower Power speculates a ridiculous device to preserve the tulips at their peak bloom while maintaining this motion. Central to my practice is an ongoing interest in found objects and a playful interrogation of functionality vs the nonsensical. Flower Power extends this enquiry by incorporating the visual language of utilitarian materials. Make-shift flexi pipe hosing is recontextualised as kinetic apparatus, overplaying a dramatised side-to-side movement in an attempt to mimic their gentle rocking motion. It's unclear whether electrical power is being pulled from the wall switch or the tulips themselves. Flower Power occupies a space where functionality slips into fiction, and where the act of preservation becomes both a sincere gesture and a playful proposition

£120

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L’Origine du langage

By kurt stimmeder

Lithograph

h: 36 w: 46 d: 1 (cms).

There is a time before language. The first months of life, when everything is imprinted—touches, voices, rhythms… Before the word arrives, and with it, order. Jacques Lacan calls this break the entry into the symbolic. The child becomes a subject, but a split one. It gains language and loses access to the real. Irrevocably. What lies before that does not disappear. It retreats into the unconscious and shapes us from there for a lifetime. The body carries what the mind can no longer reach. The flesh still knows this.

£1200

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Thornhill Academy

By Soden

Etching and aquatint

h: 29 w: 41 d: 1 (cms).

Made from onsite drawings, plate made and proofed in home studio, editioned at Northern Print, Newcastle

£300

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Biker Vicar

By martin sutherland Sutherland

paper

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

£100

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At The Start Of The Day

By jane gardiner

Hard ground etching and aquatint

h: 21 w: 25 d: 1 (cms).

At the Start of the Day is a two-plate etching combining hard-ground and aquatint. The birds are printed in gold ink, their movement cutting across the soap-ground aquatint. Scratches were encouraged to echo the feeling of salt, wind and the restless rhythm of early morning on the estuary, when the light begins to warm and shift toward golden hour. I wanted the print to feel open and atmospheric, with the stillness and anticipation of the start of the day.

£250

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Winter Moon

By matthew fullwood 16/01/75

Etching and Aquatint

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

I wanted to capture a moment in the yearly cycle of a teasel plant. I observe these plants a lot while running in the countryside near where I live. I was interested in the way the leaves dry and contract in winter, eventually being destroyed by the wind and rain to be reborn as jutting green spikes in the Spring. I have tried to create an atmosphere of stillness and mystery, as if observed by an insect, at midnight on a clear winter's night.

£150

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Pachamamas

By sonia gavazza

etching and acquatint on copper plate, printed in chine collè on hahnemuhle paper

h: 50 w: 70 d: 1 (cms).

“Pachamama” is a goddess revered by the Indigenous peoples of the Andes. In Inca mythology she is the “Earth Mother”, a fertility goddess who presides over planting and harvesting, embodies the mountains, and causes earthquakes. She is also an ever-present and independent deity who has her own creative power to sustain life on Earth. Multiple Pachamamas, holding jugs full of amniotic fluid, generate creatures, habitats and cultures that are only apparently divided. Every evolution process is the result of coexistence, hybridization and relationship. No identity is static, isolated and permanent. Accepting differences, being permeable, defusing hierarchies and power relations, preferring care, become an alternative to superficiality, emptiness, war.

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Linfa Vitale

By mattia colasuonno

zinc plate printed on paper

h: 38 w: 55 d: 1 (cms).

Linfa Vitale reflects on the daily life depicting a blossoming tree corrupted at its core

£250

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Fera_01

By sonia gavazza

Woodcut printed in two plates on cotton.

h: 88 w: 100 d: 1 (cms).

The work "Fera" is a tribute to the wild, understood not as brutal and bestial but as belonging to the forest, an ecosystem of spontaneous growth in which a multiplicity of living beings coexist and cohabit. "Fera" recalls the human need to reconnect with its wild dimension, which coincides with creation, with physical presence, with playing, in an anti-speciesism way.

£200

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Leda, Atalanta, Dafne

By sonia gavazza

Etching and acquatint on 3 zinc plates printed on 3 sheets of cotton paper

h: 50 w: 30 d: 1 (cms).

The installation "Leda, Atalanta, Daphne" represents the spiritual and symbolic dimension through the evocation of mythological scenes and archetypal forms, using shaped matrices printed on vertical strips of paper. The vase becomes a container of life-generating amniotic fluids, a metaphor for the lifeblood of every living being, which it contains, cares for, nourishes, and preserves.

£120

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Facing the wind

By james joslin

Etching and aquatint

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

This etching and aquatint depicts a man searching across an unseen ocean beyond the print’s edge with the wind blowing into his face and through his hair. The image was inspired by a quote often attributed to André Gide: “You cannot discover new oceans unless you have the courage to lose sight of the shore.” I often revisit this line during times of personal change and upheaval, a reminder that in life new adventures often require the closure of old chapters and the daring to embrace the unknown.

£180

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Where I stand. What I see.

By mary claire whalley BA

Linocut on 300gsm 100% cotton rag paper

h: 42 w: 36 d: 1 (cms).

It makes sense to look up at the architecture of Europe, but in the city where I now live, I find myself looking down. In the cracks of the pedra calçada (traditional Portuguese paving stones), I see a familiar wildness. Coming from New Zealand, a place known for its untamed beauty, I am fascinated by how plant life persists in the city. This print is both a self-portrait and a love letter to the 'in-between' spaces of Portugal. It records the slow disintegration of azulejos (traditional patterned tiles) and the quiet defiance of dandelions. It is a study of where I stand now—literally and figuratively.

£120

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Seven is a secret

By vicky crawford

Collagraph including 8 plates using charbonnel inks on Fabriano paper

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

This piece is one of seven in a series and was inspired by my natural neighbours who moved into the woodland we planted beside our home 15 years ago. I wasn’t too impressed with their arrival as I was worried about the smaller birds nests. But as they built their nest we decided to welcome them and put out extra food to accommodate them. I began this series of prints based on the poem one for sorrow it was an experiment in many ways. I love a story and am fascinated with folklore and our connection to the natural world. So I began with a base plate of the nest and decided to tell the story by adding magpies as individual plates. I love collagraph it’s so low impact environmentally and playful. I have included an extra image from the series I completed the series in brown with black and white magpies. This print I decided to try just black inks it’s an artists proof as I was testing colours.

£220

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A cidade das camélias

By mary claire whalley BA

Linocut on 300gsm 100% cotton rag paper

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

In 1880, Porto was named "The City of Camellias," a title celebrating the flowers that have bloomed in the city for more than a century. I've always thought of European cities as a kind of collage where generations of aesthetics are layered on top of one another. In this print, I’ve used a traditional azulejo (tile) pattern of camellias and textures of pedra calçada (paving stones) to frame a simple, human gesture. A passerby carries a bouquet; we are left to wonder about their destination. The technical challenge was to create a sense of depth and variety using only a single shade of blue taken from the colour of glaze often used in azulejos. By playing with pattern and scale, I aim to explore how the structured lines of architecture, the organic forms of nature, and the presence of humans interact each other for a fleeting moment on a Portuguese street.

£120

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At The Window

By lucy lock

Dryppoint

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

Drypoint print on Hahnemuhle paper

£450.00

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Irminsul

By michela mascarucci

Zinc, two plates 50x33 cm. Tecniques: Etching, aquatint, toner tranfer, softgound. Hahnemuhle Paper 300 gr 70x50 cm

h: 50 w: 33 d: 1 (cms).

In Michela Mascarucci’s prints, imagined reality takes over. The viewer is drawn into interior architectures where signs become vibrations of condensed time and fragmented memory. Her images emerge as landscapes of light and shadow, shaped by traces, wounds, and layered marks that evoke journeys through unreal and unknown cities. Within these spaces, everything is continuously reinterpreted and transformed. Human time slows, giving way to light and silence, while the work reflects on the paradox of a society that is increasingly connected yet deeply divided. Through compositional tensions, perspective shifts, and dense graphic textures, the prints invite the viewer into a contemplative journey: an exploration of hidden worlds, silent enigmas, and the fragile search for awareness and connection within a shared human experience.

£400

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Foel-fras & Llwytmor

By Andy Abram

Etching Ink, Somerset Paper

h: 39 w: 10 d: 1 (cms).

£175

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La Nave dei Veleni ( The ship of Poisons )

By michela mascarucci

Zinc, two plates 50x66 cm. Tecniques: Etching, aquatint, lithofin. Hahnemuhle Paper 300 gr 70x100

h: 50 w: 66 d: 1 (cms).

“The Ship of Poisons” exists in a space suspended between memory and vision. Inspired by the case of ships carrying nuclear waste sunk in the Mediterranean, the work does not represent reality directly, but transforms it into an interior geography where the etched mark, through etching and aquatint, becomes corroded matter, wound, and trace of resurfacing time. The ship turns into a mental architecture, both wreck and navigable space: an unstable presence built through perspectival tensions and a fragile balance of light and shadow. In this environment, devoid of human figures yet marked by their absence, an uneasy and suspended dimension emerges, where what has been hidden returns as vision. The viewer is invited to remain within this ambiguous structure, attracted and repelled at once, as before an enigma. Reality dissolves, and through the dense texture of marks one glimpses what persists beneath the surface.

£600

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Alegria

By SO KLARA MA

Collage (Mono-print, Collagraph, Chine colle and Blind Emboss)

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

Alegria—the Spanish word for “joy”—is a mixed-media print that combines monoprint, collagraph, chine collé, and blind emboss techniques. I created this piece intuitively, layering colour, texture, and shape in a playful and expressive way. The process felt spontaneous and freeing, inspired by the sense of openness, wonder, and imagination we often experience as children. For me, Alegria is about joy, freedom, and the uplifting energy of colour. I created it with the intention of evoking feelings of lightness, curiosity, and possibility, inviting the viewer to reconnect with a sense of wonder and delight.

£595

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V1 Missed Connection

By kate o'neill

Reduction Lino Cut

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

Inspired by the100s of encounters we have each day. Some impactful, some disregarded. The view from the tube is slightly misregistered to create a sense of passing through the station.

£195

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Saturnia pavonia

By jillian bain christie

Linocut

h: 26 w: 46 d: 1 (cms).

£400

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