Ironbridge Fine Arts : Printmaking Competition 2025

Today is a quiet night

By lucia ovčáriková čarnogurská

Drypoint

h: 11 w: 17 d: 1 (cms).

Today is a peaceful summer night. The sky is clear and dotted with an infinite number of stars. In the moonlight you can hear the rustling of the mountains and the soft tinkling of sheep bells. The wolves are far away today.

£40

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Today is a quiet night

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Hobby Horse

By ieuan edwards

Linocut print

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

This image is of a morris dancer and his hobby horse, part of a strong Kentish folk tradition with historical links to the Welsh Mari Lwyd.

£275

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Hobby Horse

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Above Blackfriars 2

By desmond healy

Etching

h: 37 w: 47 d: 1 (cms).

Drawn from life and reworked in the studio looking down over old Blackfriars’s bridge at rush hour as people and cars constantly move along the road and the river continues its own endless ebbing and flowing beneath them.

£300

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Above Blackfriars 2

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I'm glitching

By ania rolinska

drawing, photoresist, steel plate, etching inks

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

As a way of dealing with complex change around the midlife point, I started drawing blind self-portraits. It's my attempt to make inquiries into my changing identity, purpose, intentions, ability, and social expectations around femininity, female body, etc. In the subsequent stage of the project, I'm examining how the expressive lines and marks can be explored further through the printmaking processes and media. It's a play with a metaphoric meaning of a matrix as a female body while the title references glitch feminism, which sees glitches and erros of social and digital systems as potential spaces for liberation and transformation.

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I'm glitching

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Per Ardua Ad Astra (Through Adversity To The Stars)

By eva marie hewitt MLitt (Master of Letters), BA (Hons)

Linocut print - Mounted on board in Cellophane

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

Using the official motto of the Royal Air Force as a point of inspiration, I created a retro-style female aviator through the technique of lino cutting. This work was both a creative and technical challenge, particularly in my attempt to capture the play of light across the subject’s face and hair. I was intrigued by how glistening highlights could be conveyed through bold cuts and contrast within a limited tonal range. The process pushed me to consider not only form and composition, but also how light can suggest emotion, strength, and timeless elegance within the discipline of traditional printmaking.

£150

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Per Ardua Ad Astra (Through Adversity To The Stars)

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Nectaroscordum siculum

By lucia ovčáriková čarnogurská

Linocut

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

A flower garden has its flowers as small isolated worlds. This garlic is also a small world of transformations. Before it opens its bell-shaped flower buds, it looks like an animal. An animal with dozens of mouths that it gradually pulls out.

£35

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Nectaroscordum siculum

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Smooch

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It Didnt Happen One Night

By loraine monk

Etching/Aquatint

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

Inspired by the 1930s film with Clark Gable and Caudette Colbert, It examines the Hollywood dream of romance against the reality of working class lost opportunities...

£180

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It Didnt Happen One Night

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Dartmoor Lane

By g cotter

Woodcut

h: 30 w: 22 d: 1 (cms).

A magical walk through a tree lined tunnel over a Dartmoor lane, after the rain had finished and sun was starting to burn through the low cloud

£180

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Dartmoor Lane

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'Moondance'

By cróna gallagher

Copperplate Etching

h: 29 w: 35 d: 1 (cms).

Copperplate etching with watercolour wash, conté, gold leaf detail and chine-collé with Japanese washi bonded to ivory Fabriano papers.

£570

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'Moondance'

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Blossom No.36

By grace beswick BA(Hons)

Screen print on paper

h: 32 w: 47 d: 1 (cms).

Four colour screen print working with specifically mixed colours. Abstracted design of blossom.

£140

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Blossom No.36

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'Brigid'

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White Rectangle II

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Shrug a Winding Sheet

By Katie Prior

Mezzotint

h: 31 w: 24 d: 1 (cms).

£320

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Shrug a Winding Sheet

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Dulwich Blues

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Code On Code

By christina wigmore

Silkscreen 7 layer print on paper

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

£130

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Code On Code

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En pensée (In thought)

By florence everling

aquatint, etching and roulette on copperplate

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

After an initial etching of the drawing, different gradations were created using an aquatint with several acid 'baths' where the acid was applied directly to the copper plate ('Lavis' technique). At the end, a few details and contrast were re-enforced with the roulette. The print depicts an old woman surrounded by the books that marked her life. In the bookshelf, you can find children's books, classics, different artists and many more. The woman isn't reading but rather contemplating her life, content and in peace with herself. Since many of the references are very personal to me, it may finally be a depiction of how I imagine my future self.

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En pensée (In thought)

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Love and Loss

By maisy aykroyd BA (Hons)

Photo polymer (solar plate) print using graphite black etching ink on Fabriano Rosaspina Bianco paper (285gsm.)

h: 39 w: 38 d: 1 (cms).

Displays an intricate botanical arrangement inspired by the ancient Japanese practice of Ikebana. Constructed and photographed by the artist with the resulting positive exposed onto a light-sensitive plate using ultra-violet light. Selective curing allows unexposed areas to be washed away, revealing a grained surface. This is further hardened under UV light before being inked and hand-printed.

£600

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Love and Loss

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Maître Renard et Maître Corbeau

By lydia conlon

Ink, linocut print

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

The inspiration for this work comes from a fable from Lafontaine, tittled Le renard et le corbeau. In this story, the fox, trough flattery, manages to steal a piece of cheese from the crow. In my interpretation of the story, I wanted the crow to fight back, to show the fighting spirit of these birds.

£60

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Maître Renard et Maître Corbeau

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Rock Collection

By jocelyn maendel

Oil based ink

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

Rock Collection is a two-block relief print carved into pine. One block serves as the key block, providing the line work and structural detail, while the second block was used to apply 11 different colors—each meticulously hand-rolled and printed individually. Since learning about geology is one of my passions, my intent with this piece was to represent the color, texture, form, and cleavage planes of each rock specimen. my goal was to create imagery accurate enough that a geologist could recognize and identify each rock portrayed. From a formal perspective, I loved arranging the rocks to create relationships within the entire box structure, to the other rocks, and within their specific compartments.

£150

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Rock Collection

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Get all your ducks in a row

By maria mollohan

screenprint, red foiling on 300g botanicals paper

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

£400

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Get all your ducks in a row

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Autumn in Ambleside

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'Bandits'

By cróna gallagher

Copperplate Etching

h: 22 w: 35 d: 1 (cms).

Copperplate etching (plate size 5(h) x 5(w) cms) triptych with watercolour wash, conté and chine-colle using Japanese gampi papers bonded to ivory Fabriano

£400

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'Bandits'

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Trees and Play in London

By evangelia hamilton phD MRTPI

Etching on Copper with Watercoloured Chine Colle

h: 38 w: 30 d: 1 (cms).

I worked this image with Soft Ground initially, it is a scene from life and features families playing under very mature trees in London. Multiple layers of Chine Colle are used including for the ball. The etching went through about four stages.

£500

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Trees and Play in London

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Spider In The Carpet

By saskia richmond

Wood Engraving

h: 10 w: 14 d: 1 (cms).

Small cherry wood engraving of a spider escaping capture through the carpet

£60.00

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Spider In The Carpet

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Predator and Pray

By lydia conlon

Ink on lightweight paper, linocut

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

The red tailed hawk is a bird perfectly adapted for the hunt. Its talons are thick and resistant to rodent bites, its eyes sharp enough to spot prey well before they are seen, and its strong and powerful wings can easily lift most of the small mammals it hunts. Against such a competent predator, what can a hare do but pray for survival?

£35

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Predator and Pray

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In Memorium II

By camilla morrill BA (Hons) M.Ed

Oil based printing ink

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

Part of a series in progress entitled ‘Heads’ exploring mental health, thought, memory, loss and how we communicate those emotions.

£100

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In Memorium II

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Alembic

By eden gard BA(Hons)

CYMK Photopolymer Print on Somerset Paper

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

Inspired by the concept of material transmutation and refinement used in alchemical practice to create a philosopher's stone. The different colour channels used to build the image represent the fundamental materials of mercury, sulfur and lead - which were thought to be the source metals that all others were derived from. The act of breaking apart the original imagery into its core components and rebuilding it in a new form mirrors the practice of refinement, and brings into question whether something entirely new can be drawn out - and where this might have come from - as a wider question.

£375

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Alembic

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The Liberties

By gavin stokes

Oil based ink on Awagami washi Kozo Natural Select 46gsm

h: 40 w: 27 d: 1 (cms).

The Liberties is one of Dublin’s oldest and most vibrant neighborhoods, rich in history, culture, and community spirit. Located just southwest of the city center.Traditionally known for its markets, textile industry, and working-class roots, the area has evolved into a dynamic hub for artists, students, and entrepreneurs. Landmarks like St. Patrick’s Cathedral, the Guinness Storehouse, and the Iveagh Markets anchor its identity, while its narrow streets and redbrick buildings echo the character of old Dublin.

£125

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The Liberties

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Grandad's Memory

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Lichen on the Floor of the Forest

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Cat's Cradle

By saskia richmond

Aluminium Drypoint

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

Drypoint Print of a strange cat being cradled in a tangle of string between two hands

£150

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Cat's Cradle

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View from a London Room

By evangelia hamilton phD MRTPI

Etching, Engraving, Drypoint, and Roulette on Copper

h: 25 w: 38 d: 1 (cms).

This scene was drawn from real life, in my lounge showing the furniture and my art materials in the foreground, and the buildings outside the window and trees in the background.

£500

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View from a London Room

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Under Ziggy's Tree

By Ky Lewis

Drypoint on TetraPak

h: 36 w: 27 d: 3 (cms).

“Under Ziggy’s Tree” was created as a result of waiting for someone in the recreation ground in Beckenham, South London not far from the famous bandstand where David Bowie performed in 1969. The Bandstand was under refurbishment and I managed to create two works after observing the trees in the park. Using Tetrapak as it is easy to carry around I drew into the surface making marks with a homemade drypoint needle.

£370.00

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Under Ziggy's Tree

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Hope is the thing with Feathers

By stefanie smith

Embossed linocut on hahnemühle paper

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

£110

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Hope is the thing with Feathers

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Derwent Water Study IV

By amelia hemmings

Reduction Linocut

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

This 7 colour reduction linocut print “Derwent Water Study IV” and represents a snapshot view of Derwent Water in the Lake District; which is part a small series. My journey of study was analysing mountainous lake reflections and big skies. The variable edition is reflective of the changing marks for the water and sky and colour palette of subtle hues and tones.

£280

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Derwent Water Study IV

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Untitled

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Sheltered Hollow

By judith westrup

Linocut

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

'Sheltered Hollow' is a moment captured in time, high up on the windswept South Downs, sheltering from incoming rains beneath a gnarly hawthorn on a path worn hollow by generations of footsteps.

£160

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Sheltered Hollow

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Water lily

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Hedgerow engineers

By vicky crawford

Cranfield Caligo safewash inks on Fabriano paper

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

This print celebrates one of the smallest birds found in our hedgerows but for its long tail it is as tiny as a goldcrest or wren. I tried to capture the marvel of their tiny nests by using the same materials on my collagraph plate. I used moss and lichen but swapped out the cobwebs for PVA glue. The birds are created from Tetra Pak seprately from the plate. I like to work this way adding different elements so I can tell different stories on the same base plate. I’m fascinated by our natural neighbours and how closely their lives mirror ours. Here my two birds are creating a home in which to rear their children. The piece is inked using cranfield Caligo safewash inks in both intaglio and relief and printed on Fabriano paper. Watercolour has been applied to the long tails to complete the image.

£280

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Hedgerow engineers

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resting forms

By sara clark

woodcut

h: 26 w: 36 d: 1 (cms).

The work stems from a yearlong investigation of abandoned spaces, exploring loss and a sense of identity moving from direct contact with the location to working off site with objects, drawings, photographic materials to explore those initial interactions anew once back in the studio. These materials became structural, manipulated folded and cut held together through chance, some stitched to enforce a structure that was not a natural hold for that material. As I worked, they would lose there integrity moving, shifting until they found their own balance. They started to echo the transitory nature of the spaces I had initial observed, to become a tangible form of memory.

£250.00

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resting forms

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Anemomilos S.A.M.I.C.A., "Flour Mill S.A.M.I.C.A."

By stamatis kozas BFA, MEd(Integ)

Etching on Zinc, Toner Transfer Technique, Aquatint, A lla poupe inking

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

Wooden frame, includes hanging in the back. The work is framed with glass, in case of the selection of the work, it will be changed to plexiglass to avoid breaking during shipping. Short History about the refference. Flour Mill S.A.M.I.C.A. is a creation that I have developed as part of my diploma exhibition entitled “Mapping Chaos.” The title of the work derives from the structure upon which it is based. This edifice, formerly a flour mill, is situated on the island of Rhodes, Greece, which is also my hometown. The flour mill was constructed in 1938 during the Italian occupation of Rhodes by the Italian businessman Enrico Allioti, and it was designed by Florestano Di Fausto, a prominent architect of the era, renowned for his contributions to many Italian buildings on Rhodes. In 1947, following the reintegration of the Dodecanese Islands into Greece, the flour mill came under state ownership. However, in 1948, it was acquired by the Samian brothers—Roikos, Mitsos, and Spyros S

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Anemomilos S.A.M.I.C.A., "Flour Mill S.A.M.I.C.A."

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Danza frenetica

By Marco Poma

Zinc

h: 25 w: 50 d: 1 (cms).

“Danza frenetica” depicts a powerful flux of marks that gather and dissolve, evoking a frenetic dance. The form, of undefined nature, is caught in a state of transformation, shaped by natural forces. It becomes a visual metaphor for impermanence, motion, and the fragile balance of aggregation and dispersion.

£400

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Danza frenetica

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Into the Walled Garden

By hannah chumbley

Monotype

h: 40 w: 28 d: 1 (cms).

£250

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Into the Walled Garden

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St Michaels Pillar

By hector hamilton

Copper Etching

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

This is an imagined scene based on science fiction with archaic elements. Maybe an alternative London and an alternative Trafalgar Square?

£338

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St Michaels Pillar

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Autumn Hare

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MC Eschers Handkerchief 2

By sumi perera RE SGFA FSDC

INCISED AND PEELED CARDBOARD

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

This work explores the boundaries of a brief using a series of squares folded and layered, similar to a M.C. Escher geometric conundrum. I calculated and designed multiple handerkerchiefs, folded to create an impossible 3D structure that remained flat. I used a discarded 12 inch sheet of acid-free Daler-Rowney mountboard/core 1400 microns thickness, and incised and peeled back layers to create tone. The 3D rounded-effect is achieved by selective ink-wiping techniques to create shadows & highlights. Selected as the lead image by the Curator of Philadelphia Museum for the 8th International Footprint Biennial poster. I am an interdisciplinary artist with work in public collections: Tate Britain, Victoria & Albert Museum, British Museum, Royal Collection, Ashmolean, Yale Centre for British Art USA; public museums in Japan, China, Iraq, Egypt, Italy, Denmark, Venice etc. I have done artist residencies in Venice, France and London; taught at Middlesex University & Royal Academy, London

£495

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MC Eschers Handkerchief 2

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Shannon

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Wilde Goose

By hannah chumbley

Monotype

h: 40 w: 27 d: 1 (cms).

£250

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Wilde Goose

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Mycelium

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When trees walk

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Untitled

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Untitled

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“Liuto” from Musici series

By nadia kuprina Master in Music

Linocut print hand printed on paper collage, red ink signature

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

Liuto means lute in Italian. Musici is an ancient word for musicians.

£165

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“Liuto” from Musici series

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Home, Still Life

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“Cello”, Musici series

By nadia kuprina Master in Music

Linocut print hand printed on paper collage, red ink signature

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

£165

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“Cello”, Musici series

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North face

By lois gilbert

Photopolymer plate

h: 23 w: 17 d: 1 (cms).

Photopolymer on Somerset paper

£325

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North face

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Worlds Away

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Storm, Northumberland

By maria motowylczyk BA (Hons)

Mono/Gel Plate Print

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

Mono Print in Acrylic, Hand Printed using Gel Plate

£375

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Storm, Northumberland

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Strands

By sharon bolister

Solar plate

h: 36 w: 29 d: 1 (cms).

I found this rope, clinging on to the wall on the Thames Foreshore in a long-since disused wharf. Knotted tight and clinging on despite the best efforts of the river over the years

£120

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Strands

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Aiguille du Midi

By lois gilbert

Etching using soap ground

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

Etching using soap ground on copper plate - printed on Somerset paper

£400

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Aiguille du Midi

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Eau de Chien

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Bird’s Eye View

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Woodmansterne Road III

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Woodmansterne Road V

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La Frontera III-III

By kyle chaput

lithography, oil based ink on Rves BFK

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

My work is an attempt to reveal internal struggles with a chronic illness while referencing chaotic, often conflicting aspects of ‘border’ life. These aberrant sites and abandoned still lives reflect a broken condition within an alienated community, the Rio Grande Valley, on the US/Mexico border. The manifestations of these vessels tend to pierce through subconscious thoughts, forcing me to continually question my sense of place and inner stability.

£400

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La Frontera III-III

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Embodiment #18

By peon boyle BA(Hons)

Lithino, Mono prints, dry point, stitching

h: 20 w: 50 d: 6 (cms).

This work combines lithino print, drypoint, and monoprint techniques, stitched together to hold its form. It is mounted on a painted wooden panel with wall hanging on the back.

£350.00

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Embodiment #18

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Growing Pain

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AI, My Friend

By glon frederic

linocut

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

AI, My Friend COMPULSIVE HOARDING As a Props-Maker, I create objects and sculptures for advertisers, participating in specialist meetings designed to craft images of products that captivate the broadest audience. In a crescendo of irony, my false advertisements expose the mechanisms of merchandising and highlight the environmental consequences of overproduction and overconsumption. By stripping advertisements of the emotions evoked by colors and symbols that sway consumer choice, these engravings present a product image free from deception. By hijacking the object, they offer a disenchanted perspective on the advertising poster and the system it upholds. These woodcuts, with their pure and contrasting lines, draw from the political tradition and rebellious spirit of engraving, much like the works of Otto NÜCKEL and Frans MASERELL, who have profoundly influenced my vision. "AI, My Friend" is a reflection on artificial intelligence — a technology capable of breathing life into tools

£200

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AI, My Friend

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Embrace after Eaton

By christopher gonzales-aden

Linoleum Relief

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

This year, 2025, the city we live in, Altadena, California was decimated by wildfires. Within hours 6,000+ homes were destroyed in a wildfire driven by 100 mile per hour winds. A local firefighter’s home was destroyed and upon finding his wedding ring in the ashes and sharing the news with his wife, a burst of laughter and joy quickly turned into an exhausted embrace. I wanted to capture that moment for all of us who live in my town. The fire stopped four blocks from our house and after 3 and 1/2 months we were able to return, but our town will forever be changed, and the people in it will have to find a way forward. I wanted this embrace to remind us of the most important thing - each other.

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Embrace after Eaton

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Charles White

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St. Virgil of Salzburg

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"The Smoke Deck"

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Pictland XIV

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