Printmaking Competition 2026
413 artworks
Tree - Alone by evangelia hamilton phD MRTPI
Tree - Alone by evangelia hamilton phD MRTPI
401 / 413
By evangelia hamilton phD MRTPI
Zinc Drypoint and Engraving
h: 25 w: 18 d: 1 (cms).
This is a zinc drypoint, begun when I initially started working with the medium of printmaking. I returned to it post-pandemic to complete the work, emphasising the new lines over older, worn out ones, depicting a lonely tree in winter in parkland with fencing behind.
£420
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El Hombre by theresa tran
El Hombre by theresa tran
402 / 413
By theresa tran
Original photography and acrylic paint on paper
h: 30 w: 23 d: 1 (cms).
A layered gelli plate monoprint built from multiple gel plate pulls incorporating botanical ghost prints and chance marks, with a final photo transfer layer from original photography taken in Mexico City, Mexico. A solitary figure emerges from the layered ground, half-dissolved into texture and memory.
£500
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The Rose is Fair by Ros Pritchard
The Rose is Fair by Ros Pritchard
403 / 413
By Ros Pritchard
Photopolymer Gravure
h: 31 w: 29 d: 1 (cms).
£165
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It will all work out in the end by alicia natalie holmes
It will all work out in the end by alicia natalie holmes
404 / 413
By alicia natalie holmes
Lino cut with relief ink
h: 42 w: 30 d: 1 (cms).
Created following a trip to Iceland, this lino print draws on experiences of hiking across glaciers and whale watching. The design is inspired by the well-known Icelandic phrase, “it will all work out in the end,” reflecting a sense of resilience, calm, and connection to the vast, powerful landscape.
£120
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Unbuilding Blocks - Quadrature Of The Circle iii by sumi perera RE SGFA FSDC
Unbuilding Blocks - Quadrature Of The Circle iii by sumi perera RE SGFA FSDC
405 / 413
By sumi perera RE SGFA FSDC
etching, aquatint, embossing
h: 25 w: 20 d: 1 (cms).
An ongoing series developed from creating a maquette that had concentric rings cut out to allow a flat 2D image to lift off the paper to form a 3D structure akin to a Chinese lantern. This series took the initial drawing I made. It is heavily embossed to allow the visually impaired to feel the surface ridges. This work was devised as a stack arranged from i-vi seeking light in a time of extreme darkness. The same plate is used to generate a pattern from absolute darkness to emerging light (or vice versa) using intaglio and relief inking techniques. The prototype Quadrature of the Circle-Unbuilding Blocks [QoC-UB] (acquired by the British Museum, Royal Collection & Ashmolean Museum) was designed to celebrate the Bicentennial of the RE, a touring exhibition REbels. The integrity of the perfect centre dismantles into imperfection towards the periphery. It is a reflection that stability within life is possible if forces outside work together to allow light into any dark situation.
£395
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Walt Disney by lizzy daglish
Walt Disney by lizzy daglish
406 / 413
By lizzy daglish
Drypoint - etched into plastic
h: 21 w: 15 d: 1 (cms).
A drypoint etching of Walt Disney
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The Keeper by Francis Allwood
The Keeper by Francis Allwood
407 / 413
By Francis Allwood
Collagraph
h: 44 w: 35 d: 1 (cms).
3 colour collagraph, inked up in a painterly manner and printed in one pass, a la poupee
£250
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Untitled / large colour grid 2 by benedict rutherford
Untitled / large colour grid 2 by benedict rutherford
408 / 413
By benedict rutherford
Letterpress
h: 29 w: 42 d: 1 (cms).
This print is part of an ongoing series made using a non-traditional use of letterpress techniques and focusing on colour, form and pattern. It is part of an edition of 4.
£160
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In Memory Unfading by felix charlton
In Memory Unfading by felix charlton
409 / 413
By felix charlton
Ink on plaster
h: 36 w: 36 d: 5 (cms).
These prints are created by printing laser cut lino into wet plaster. My practice is based chiefly in the investigation of memorial and remembrance. I am interested in sites of burial and memorial and the way that people interact with these spaces. I have a particular interest in the language of memorial. Through employing patterns stemming from change bell ringing I create patterns of repeated phrases found on gravestones. I am interested in how these repeated phrases can be both generic and yet mean something very specific to an individual mourner. This patterning I also use to create distorted portraits of unknown individuals which seek to explore how a person is remembered and memorialised by those whom they leave behind.
£200
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Gateway to the isle by tim aston
Gateway to the isle by tim aston
410 / 413
By tim aston
Lino
h: 42 w: 29 d: 1 (cms).
A3 single-colour lino print of The Gate to the Isle harbour, using bold graphic shapes, simplified forms and distorted perspective to capture the character of this small working harbour beside Dalkey Sound. The composition focuses on the relationship between the quiet shelter of the harbour and the restless movement of the water racing between the mainland and Dalkey Island. Cut by hand and printed in a limited edition, the piece reduces the scene to its essential lines, shapes and atmosphere, drawing from both traditional lino printmaking and a more contemporary graphic approach.
£395
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Noshahi Soda Water by iram wani
Noshahi Soda Water by iram wani
411 / 413
By iram wani
Intaglio
h: 28 w: 40 d: 1 (cms).
This print is centered on a soda water stall a small, everyday space where different lives intersect for just a moment. The seller is captured in the act of making the drink, focused and routine, while another person drinks, pausing in the rush. In the corner, a small child with a sack stares, caught between activity and stillness. The market around them moves, but these three figures hold separate realities within the same frame. Through the layered textures of the plate, the scene holds the contrast between labor and longing, presence and invisibility. The work is about the impression that ordinary moments leave how a fleeting glance, a gesture, or a pause can carry the weight of a life that often goes unseen.
£300
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Colombia Moon by lucy ridges
Colombia Moon by lucy ridges
412 / 413
By lucy ridges
Hand printed layered cyanotype print
h: 30 w: 21 d: 1 (cms).
This is a hand printed layered cyanotype print using digitally printed acetate negatives, layered with collaged elements of acetate shapes. Source images are from my own archive of travel photography and nude studies.
£225
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Hovering Kestrel by megan rogers
Hovering Kestrel by megan rogers
413 / 413
By megan rogers
Linoprint
h: 26 w: 34 d: 1 (cms).
The print shows a sweeping linocut capturing the power and precision of a Kestrel in flight. Bold carved lines and layered textures create movement through the wings, sky, and landscape, while the dramatic contrast of black ink against warm ochre tones evokes the final light of dusk. The composition balances strength and stillness, with the hawk gliding low above silhouetted trees and rolling fields. Drawing on traditional relief printmaking techniques, the piece celebrates both the expressive marks of hand carving and the quiet intensity of the natural world.
£85
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