The Paper Road – Rare Paper Exhibition

Elaine Cooper

Spike Print Studios 
Spike Island
133 Cumberland Road
Bristol BS1 6UX
Irokirakarakami Keiu Kayasuga, Okayama Woodblock print using pigment for the dye.
For more information:


Sara Bowen, Caren Florance, Rhonda Ayliffe

Vitrine, Frenchay
Lossed (BookArtObject Edition 6)
BookArtObject is a long-term group artist book project, based in Australia, that has varied wildly in scale and scope. As founding members, we decided to pull back from wider collaborations to shift our gaze closer to home and work together to intersect our personal interests in trauma and creative recovery.

Un Coup de Dés Jamais N'Abolira l’Appropriation

Sarah Bodman

Vitrine, Bower Ashton
Un Coup de Dés Jamais N'Abolira l’Appropriation
Welcome to a celebration of the 125th anniversary of Stéphane Mallarmé's poem Un Coup de Dés Jamais N’Abolira le Hasard (1897).
This is the poem that launched countless works of free verse and experiments with typography and the page. And also launched a host of livres d'artiste in numerous languages as well as homage in the form of film, painting, photography, sculpture, installation, theater, costume, music, dance, programming, and book art. Even exhibitions of book art. No less than five art exhibitions in homage to Un Coup de Dés appeared in the first decade of the 21st century. The fact that together they barely represented half the relevant works of homage available then demonstrates a rapidly growing recognition of its importance as a muse to book artists. And the fact that the number of such works has increased even further since suggests that it is time to take stock again.

Artists: Books On Books Collection.
Robert Bolick
Books On Books

Cutting / Tearing 2022

Alison Alder, Marian Crawford, Richard Harding

Vitrine, Frenchay
Alison Alder, Marian Crawford, Richard Harding
Cutting / Tearing 2022 is a collaborative artwork that reflects the three artists’ shared habit of collecting and re-making newspaper clippings into artworks. By saving a newspaper article when its content shocks, the artists extract and preserve this reaction from the relentless churn of the news cycle

REDDER.COM - Duty Free Shopping on Mars

Elizabeth Lloyd

Vitrine, Frenchay
Elizabeth Lloyd
REDDER.COM brings you a shopping experience on the 4th rock from the sun – to planet Mars. This vitrine display is selling 3D printed xxx rated toys from the department SEX IS DEAD/REVIVE WITH RED.

Resonate Print

Copper Sounds

W Block, Frenchay
Isaac Stacey
Copper Sounds explores the physical and visual nature of sound, through designing, making and performing with unique objects. This latest work focused on combining the traditional craft of Bronze Bell-Making with 3D printing to create a new set of sonic vessels to be seen and heard.

Flora Danica. The Danish Garden – into the Wilderness

Curator. Lene Leveau,

W Block, Frenchay
Annemette Heltoft
Denmark consists of many islands, and a climate perfect for growing crops, weeds, and gardens, especially on the island Funen (Fyn), where Funen Printmaking Studio is located, which is famous for apples.

For more information on the group show:

A Tree Behind the Wall

Lilli-Krõõt Repnau

44-01, Frenchay
Girl in smartphone light, Lilli-Krõõt Repnau
The title belongs to personal story from childhood.
This is a metaphor for entire exhibition, a tiny tree growing behind the big wall trying to survive.
It deals both personal and recent history and the topic of isolation. In hope there will be no walls in the future.

Interferences – printed, cut and woven works of Jolanta Rudzka Habisiak

Jolanta Rudzka Habisiak

44-02, Frenchay
From the cycle Columns, Jolanta Rudzka Habisiak
The exhibition Interferences is a presentation of intermedia works which cross the borders of classic printmaking and enter into new spaces and new visual and tactile impressions. Embossing, incisions, perforations and interactions of print and hand woven elements are the original combination of techniques employed to obtain sensually interesting effects. 

Densities of Blank

Jules Sprake

44-03, Frenchay
Gummypack, Jules Sprake
Four linear metres of white panel. Blank. Filled with repeating gummy bears and love heart sweets, ink tinted in coral, lime, blackcurrant. Playful, sometimes terse, these agitations between words and images start to unpack the agency of blank. Collected in a swatch of visual poetry, bound by a screw.

Ways of Seeing the Periphery / Above and Beyond Landscape

Kadri Toom

44-04, Frenchay
Ways of Seeing the Periphery Above and Beyond Landscape, Kadri Toom
The graphic work is based on the heritage and landscape experience of the author's female line. "Growing up in south Estonia, surrounded by round lakes and hilly terrain, this experience has strongly influenced me and my work. I want to highlight site-specific visual rhythms and layers of the ground, and invisible sensations associated with places. The shapes and colours used in the works represent female energy, from which intense warmth, strenght and wisdom radiates.” Works are made in 2022, Cyanotype, silkscreen printing and relief print on paper.


Marilou Chagnaud

44-05, Frenchay
Marilou Chagnaud, Folded paper, digital printing, rock maple frames, 144 x 123 cm 2021.
Created by digitally-printing, and then folding Japanese paper by hand into precise
concertina folds, Waveforms comes to life through the viewer’s movement. When walking
past it, the folds reveal and conceal the printing, offering a constantly changing


Simone Philippou

44-06, Frenchay
Journey Ταξίδι , Stone-Lithography, Simone Philippou
Simone explores the relationship between humans and the natural world through the study of archaeological artefacts and plant life.
She creates visual hybrids of object and plant seedling studies, stimulating the viewer's botanical mind. The exhibition pays homage to Nature and celebrates her quiet yet abiding power.

Ink from Fire

Mara Cozzolino and
Jacqueline F Gribbin

44-07, Frenchay
Ink from Fire, Cozzolino, Gribbin
Mara Cozzolino from Italy and Jacqueline Gribbin from Australia, who are witness to climate change through wildfires and bushfires in their respective countries, present a series of woodblock prints (mokuhanga) in Ink from Fire. The images pay testimony to the burnt land by using pigment made from burnt charcoal.

Breaking Bread

Margaret Ashman

44-10, Frenchay
Love Divine, Margaret Ashman
Breaking Bread is the realisation of a project for the Swiss Church London. Four deaf dancers performed an interpretative sign dance to a poem. A selection of works from the series of twelve large photo etchings created from photographs and film stills of the dance will be shown.

Tinned Stories

Aoife Barrett

44-11, Frenchay
Tinned Stories buttermaking, Aoife Barrett
During an artist-in-residence in a Care Setting, the artist drew together her interests in printmaking, bookmaking and storytelling to create print kits for use with staff, patients and residents. Weaving participants’ tales into bespoke tins of hand-carved rubber stamps, ‘Tinned Stories’ gives forms to their memories of people and places.

The Organization of a Chaotic Mind

Mei Chen Tseng

44-12, Frenchay
The Eight Elements of I-Ching, Mei Chen Tseng
In the process of creating a large-scale wood engraving, the artist enters the unconscious state of mind into the core of every line and detail. Reinterpreting the ancient Book of Changes “I-Ching”, Tseng engraves every element with the spirit of writing calligraphy, through breathing, energy and dedication.


James Pasakos

44-13, Frenchay
Metamorphosis III, James Pasakos
During COVID lockdowns in Victoria, Australia, I participated in an exhibition.
‘Metamorphosis’, evolved during the Victorian lockdowns, a poignant cross-pollination of artists/historians/poets/writers, in collaboration with the Greek Australian Cultural League.
IMPACT12 enabled collegial collaboration with 3D artists, merging traditional/contemporary materials and techniques including monotype/print and ceramics.

Plural tissue

"Llotja" School of Art. (Book Arts Departament)

44-14, Frenchay
A plural tissue
"Llotja" School of Art (Book Arts)
Individual creation is nourished by collective work, which in itself is a trait of graphic, print and artistic bookbinding workshops. Perhaps the essence of our school is training through relationships and exchanges with both teachers and classmates.

Llotja School of Art student and teachers 

Thats the Way to Do It

Laura Clarke

44-15, Frenchay
Punch, Laura Clarke
Thats the Way to do It is a series of work exploring the traditional and usually very violent puppet show of Punch and Judy. Using a bizarre family as a vehicle for grotesque comedy and a sideways look at our contemporary society. Creating a dysfunctional cast of characters using theatrical imagery the work questions the nature of the spectacle as much as its representation.

Tidalectics Portfolio

Eveline Kolijn

44-16, Frenchay
Eleven printmakers were paired with marine biologists in 2019, to create a print based on their research. The biologist wrote an accompanying essay. The portfolio follows the historical tradition of depicting the natural history of the ocean and a contemporary focus on the environmental challenges the marine environment faces today. 
Participating printmakers - biologists:
Rene Arceo – Dr. Jasper de Goeij
Pepe Coronado – Maria Villalpando
Umberto Giovannini – Dr. Amanda Spivak
Tracy Hill – Dr. Stuart Sandin
Jill Ho-You – Dr. Iliana Baums
Eveline Kolijn – Dr. Forest Rohwer
Poli Marichal – Dr. Antonio Mignucci
Miriam Rudolph – Dr. Brian Lapointe
Natasha Russell – Dr. mark Vermeij
Melissa Smith – Dr. Valerie Chamberland
Koichi Yamamoto – Dr. Gregory Folz

I am Just Passing Through

Susanne Klein

44-17, Frenchay
meinashroud, Susanne Klein
Linocut is an archaic and direct technique. It can be done with very little equipment, a piece of linoleum, and some cutting tools. It demands very physical interaction between maker and plate. I have used large-scale linocuts to leave my mark, even though I am just passing through.

Chamuco, The Devil is Around...
Multicultural and Interdisciplinary University Project.
Michoacan, Mexico

Ioulia Akhmadeeva

44-18, Frenchay and Virtual
Chamuco, The Devil is around...
Presents the result of the Mexican university project (2019-2022). Includes 11 prints, a box with a collective artists book of block print images and letterpress poems in Spanish, Purepecha and English, also polychrome ceramics and ontological book. The project involves participants of various cultures (indigenous Purepecha, Mexican and American).
Artists names:
Graphic artists (Faculty of Fine Arts, Michoacan University Saint Nicholas of Hidalgo, Mexico): Alvar Navarro Espino, Diego Leonardo Rivas Venegas, Denisse Priscila Flores Pirsch, Fernando René Pioquinto Cortés, Juan Horacio Vera López, Ioulia Akhmadeeva, Iván Montero Lombera, Luis Arturo Heredia Reyes, Mario Alberto Higuera Campos,Yosneidy Espinoza Reza.
Master craftswomans (Ocumicho Community, Michoacan): Domitila Felipe Marcelo, Olivia Elías Julián.
Poets (Faculty of Letters, Michoacan University Saint Nicholas of Hidalgo): Araceli Jennifer Padilla Olvera, Raúl Eduardo González, Diana Laura Mora, Cuauhtémoc Maya Ildefonso, Susana Ferreyra Medina, Alma Jiménez Villegas. English versions of poems (University of Stanford, EUA): Ever Rodríguez. Versions in P’urhepecha language (National Autonomous University of Mexico): Ismael García Marcelino. Letterpress poster: Masterprinter Juan Pascoe, Taller Martin Pescador, Michoacan, Mexico.



44-19, Frenchay
Sliver, Mindy Dore
We are a group of printmakers from lutruwita/Tasmania, Australia. We found our collective voice during the pandemic and deploy our individual practices to examine our remote island home. We call ourselves ‘nowhereprint’ and like the shift between time and place suggested in this play-on-words.
Artists names:
Helen Mueller,  Antonia Aitken,  Jan Hogan,  Jennifer Marshall,  Lex Palmer Bull,  Michael Schlitz,  Mindy Dore,  Natasha Rowell,  Nicole O’Loughlin,  Olivia Moroney,  Raymond Arnold,  Rebecca Coote,  Tim Coad, Melissa Smith.

Print Card Wrocław Uncanny Valley: The Picture Within us

Mariusz Gorzelak

44-20, Frenchay
PrintCard Wrocław is an international prints exchange, bringing artists and their works together since 2015. More than 400 artists from 42 countries, 6 continents have taken part in the project. In IMPACT 12 we present 154 prints, from 28 countries. From the special edition „Uncanny Valley: the picture within us".
Full list of artists names can be viewed below:


Michelle Avison

44-21, Frenchay
Tide, Michelle Avison
A series of monotypes based on sketchbooks and watercolour paintings made on the west coast of Scotland in 2022 with some new prints made in August this year. The work is a response to repeated looking at the sea- it is a memory of it, both visual and emotional.

Connections: Tales that Split Apart!

Judith Elisabeth de Haan

44-22, Frenchay and Virtual
Connections: Tales that split apart!
After Poetic Landscape I and II at IMPACT 10 and 11, Judith and Mel decided to extend their collaboration and the combination of word and print to:
7 continents
6 printmakers inspired by folk-/fairytales of their own country/continent/cultural background, common subject .. a rabbit
6 stories
and Antartica!
Artists names:
Judith Elisabeth de Haan (Norway/The Netherlands, Europe), Cheong Hoi I, Mel (Macao, Asia),  Glynis Lee (Australia, Oceania), Eliana Ambrosio (Brasil, South America), Jennifer Mack Watkins (USA, North America), Joseph Madisa (Namibia, Africa)

900 Baskets

Veronica Calarco

44-24, Frenchay
900 Baskets, Veronica Calarco
A nine-year obsession with making baskets from discarded prints and found yarn. Each basket marks a unit of time and carries within the narrative of its creation - why the print was created, why it was rejected, the finding of the yarn, the making of the basket and its final home.

Pulque the Drink of Gods

Erika Servin

44-26, Frenchay
stack, Erika Servin
The aim of the project is to show through art the concept of popular culture through a millennial beverage (pulque). This expression of interdisciplinarity works as axis of contemporary culture in Mexico, as it promotes the beverage outside its original context and its history in an outside environment.

Optical Impermanence International

Jennifer Scheuer, 
Grant Brownlow &
Raluca Iancu
Curators of a group show 

46A-01, Frenchay
Jennifer Scheuer, Physalis II
Optical Impermanence is a collaborative exhibition of two portfolios using the concepts of touching, merging, and metamorphosis as exploration of optical play through interactivity of image and materials. Artists created a round print on a translucent surface, the prints are exhibited layered and interacting with one another.   
Portfolio One: Anthea Black, Grant Brownlow, Savannah Bustillo, Teresa Cole, Minda Douglas, Melissa Harshman, Melissa Haviland, Stephanie Hunder, Raluca Iancu, Travis Janssen, Tatiana Potts, Jennifer Scheuer, Meredith Setser, Mike Sonnichsen, Lauren Steinert, Amy Thompson, Connie Wolfe, Brian Wagner, and Neil Ward.
Portfolio Two: Grant Brownlow, Sarah Budeski, Sarah Capel, Lisa Chappell, Teresa Cole, Inga Eicaite, Stephanie Hunder, Raluca Iancu, Masaharu Imamiya, Prue MacDougall, Jonathan McFadden, Katie Ravenscraig, Rachel Singel, Bhanu Shrivastav, Jennifer Scheuer, and Stephanie Turnbull   

Matter Maps

Lydia Halcrow

46A-02 , Frenchay
Lydia Halcrow, Matter Maps
An embodied exploration of a coastal place vulnerable as sea levels rise. The work forms experimental alternative maps made with the matter of ‘place’ - ancient earth-pigment Bideford Black, rust crumbling from abandoned post-industrial structures, foraged marine plastics. These material/textural records map the overlooked in the time/scale of the everyday.

Holding Place

Molly Brown

46A-03, Frenchay
Molly Brown, Holding Place

In ‘Holding Place’ observations of plant life are a framework for exploring both utopian imaginings - celebrations of a joyful, ecological sense of belonging - and anxious thoughts about the results of an increasing sense of separation. The exploratory process of etching lino then working into the softened plate gives the prints a playful and unsettled quality.


Birgitte Munk and
Vibeke Jerichau

46A-04, Frenchay
Birgitte Munk and Vibeke Jerichau, Overlap
With their individual photographs as a starting point the artists have created a series of joint photogravure-works.
The have merged their eyes and, in that way, doubled the sender. The doubling of the view, the blurring of the images, the flickering of light and shadow create a kind of openness. 


Anna Mays

46A-05, Frenchay
Anna Mays, Re:Surface

Re:Surface aims to communicate ideas around the synthetic and transformational body, and reflects on the relationship between physical and virtual.

Anna explores the human body through the themes of touch and fragmentation, and the lost connection with our natural selves at a time of rapidly advancing science and technology.

Cultivating Hope

Antonietta Covino-Beehre 

46A-06, Frenchay
Antonietta Covino-Beehre, Cultivating Hope
Cultivating Hope is a connection to memory, nurture and the cultural significance of flowers. Begun during my pandemic experience whilst in lockdown, I soon realised that the geranium flower had greater importance than its colourful leaves or fragrance-It was a symbol of resilience.


Milos Djordjevic

46A-07, Frenchay
Milos Djordjevic, Pastorals

Pastorals, is conceived as an omnibus exhibition, consisting of several series of prints and printed collages (Cascades, 2009-2013; Magna Hiatus, 2017-2018; Great Tiny, 2018; Lost Nature, 2019). The exhibition refers to the (mis)use of technology and the negative effects it has on life and nature. 

Shared Landscape

Siobáin Drury,
Group show 

46A-08, Frenchay
Shared Landscape
Community, Colour, Territory, Tone, Friendship
Work evolved from a community of artists, who make work side by side. It is this landscape of communication and sharing that informs this exhibition. Within this community, we exchange and influence each other, friendships grow and printmakers collaborate,
share resources and mentor each other. 
Siobáin Drury, Beth Jenkins, Emily Lucas, Christine Felce, Tricia Henry, Tabitha Fedden, Ollie Goodson, Judy Pascoe, Wendy Rhodes, Fiona Lenore, Lucy Guenot, Jane Sasanow.
Gloucestershire Printmaking Cooperative - www.gpchq.co.uk

Growing Over

Melissa Haviland and
Melissa Harshman 

46A-09, Frenchay
(left) Melissa Haviland and  (right) Melissa Harshman
Melissa Harshman and Melissa Haviland exploit the use of multiple, patterns, and domestic references to create larger installations with prints and paper. “Growing Over” uses floral references, print, and handmade paper to invite the viewer to contemplate repetition, density, pattern, colour, and our emotional reactions to flowers. 

When Our Hearts Were Fragile

Curator - Eve Kask

46A-10, Frenchay
Caroline Pajusaar
EKA printmaking students have been influenced by Covid and the war in Ukraine. Students share their experiences of this fragile time working mostly in classical techniques (linocut, silk-screen and intaglio printing) and with artists' books. Materials and form (binding) are carefully chosen according to the content of the book.
Maria Izabella Lehtsaar, Lilles, Caroline Pajusaar, Johanna Rannu, Riina Reiners, Oscar Wirkström

Voices in Flight

Machteld Hali 

46A-11, Frenchay
Machteld Hali, Medusa
This body of work, Voices in Flight, byline: The End of Misogyny, seeks to explore visual imagery offering flight paths which through their specific transcendental qualities allow us to rise above, and be uplifted beyond the diminishing power of misogyny: the dancer, yogi, love of family or nature even dangerous Medusa


Clare Humphries 

46A-12, Frenchay
Clare Humphries, New Moon on Monday
“Observances” translates observations of the Moon as it orbits through the night sky, cycling from one state into another in a continual process of becoming. The exhibition explores the difficulty of gaining a perceptual ‘fix’ on this celestial body, as it oscillates between closeness and distance.


Michelle Keegan

46A-13, Frenchay
Michelle Keegan, Remote
The work explores ideas of multi-layered conversations about how we navigate place and space. The location enables a physical response to landscape and engages in a dialogue of questions concerned with belonging, rootedness, and home. The imagery is part in-memoriam, part remapping. A personal cartography.

Edge of Infinity

Curator - Wuon-Gean Ho

46A-14, Frenchay
Wuon-Gean Ho
Colour blends and fades appear in many types of print. Blends provide emotional content to the image, pulling the viewer in to explore the depths of shadows and the gleam of light. The portfolio shows the work of twenty international artists who have interpreted colour blends in original ways.
April Vollmer, Ben Saad Karima, Carinna Parraman, Eriko Fujita, Fiona Fouhy, Jacky Cheung, Jenny Robinson, Judith Symons, Laura Boswell, Laura Clarke, Mara Cozzolino, Miguel Aragon, Paul Uhlmann, Philip O Reilly, Sarah Mitchell, Stephen Black, Susannah Hera, Teresita Jiménez, Wuon-Gean Ho

Inescapable as Today

Giulia Leonelli 

46A-15, Frenchay
Giulia Leonelli, Inescapable as Today
This exhibition focuses on the production of printmaking series by the reiterations of visual elements. The prints exhibited, organised in sequences, evolves and change from surface to surface, with the intention to suspend the solidity of a form by successive metamorphosis. Each print reflects the provisional unfolding of a rhythm.

Traces of Home

Lesley Logue 

46A-16, Frenchay
Lesley Logue, Traces of Home

The work highlights social injustices in the treatment and housing of refugees. Making an impression of a key implies that it can be copied, but it is also suggestive of absence as the physical object is not there, and what remains is a trace or memory.

The Meadow

Pernille Andersen 

46A-17, Frenchay
Pernille Andersen, The Meadow
Photograms where plants and seeds from the meadow are placed on photosensitive polymer plates. The size ratio is 1:1. My aim, however, is not the sharpness of the contact copy, rather it is to capture the sense of the meadow's nature and growth as volatility and movement.

A Print Genealogy

Claude Arseneault 

46A-18, Frenchay
Claude Arseneault, A Print Genealogy

Print Genealogy comprises two wall charts and an artist book. Each wall chart, composed of lithographic prints, creates an ironic suite on the culture of printed art. The artist book, housing pamphlets and digital prints, is a playful observation of Atelier Graff, now, l’Imprimerie centre d’artistes, in Montreal, Québec. 

Glass Town

Richenda Court

46A-19, Frenchay and Virtual Show
Richenda Court, Glass Town
‘Glass Town’ is an unfolding story of a Girl and Boy who venture into a paused world. The couple encounter a world of crystals and glass chess pieces leading them on a journey to question and reflect on their circumstances. The exhibition includes linocuts, etchings and a bespoke animated film.

Lost and Found

Wojciech Tylbor-Kubrakiewicz 

46A-20, Frenchay
Wojciech Tylbor-Kubrakiewicz, Lost and Found
I believe that the most substantial moments of my life took place during my peregrinations. On the other hand, my works are not a testimony to the completed journey. They document the process of being the silent witness of my adventures, sorrows and changing moods. 

Dreams of Distant Fields

Prue MacDougall 

46A-23, Frenchay
Prue MacDougall, Dreams of Distant Fields
These works reflect the isolation that historically New Zealanders have encountered both from our geographical distance, and also our psychological distance. In these works, I consider the historical journeying of ancestors from distant corners of the earth representing discovery but also loss. I also look to themes of migration and exploration within a world that has both expanded and contracted.

Bee at Work

Ulla Madsen 

46A-24, Frenchay
Ulla Madsen, Bee at Work
My work “Bee at work” no. 1 – 5 are woodcuts, created in 2022.

Their form is circular, like looking through a magnifying glass. Through the corona period, I found inspiration in focusing on the intimate space of my garden. I found that the time given was a resource for immersion.”


Fungai Marima 

46A-25, Frenchay
Fungai Marima, Passage
Passage, an on-going body of work by Fungai Marima (b.1990) which investigates the parallel relationship printmaking has to performance, using traditional printmaking processes, film and sound. Exploring ideas of journeying in-between multiple points of experiences, into finding self in material, process and collaboration to allow physical and emotional awareness. 

Touching and Touched [Clay and Found Objects]

Clare Day

46-01, Frenchay
Clare Day
Touch is essential to us all, something brought into sharp focus by the pandemic.
This exhibition centres on work made by feeling my way. I print from a block of clay that has had found objects pressed into it, to remember a place, person or feeling.

Timeless Colors

Carmen Herrera Nolorve

46-02, Frenchay
Una trenza de esperanza, Carmen Herrera Nolorve
The pandemic locked down has demonstrated that as self-portrait develops, new concerns appear. We had to face daily restrictions in our creation. In my case, my kitchen became for a brief period of time my workshop and my place to reflect. “Timeless colors” intends to combine smells, flavors and colors from kitchen and printmaking.

Dust to Dust

Abdul Hakim Onitolo

46-04, Frenchay
Abdul Hakim Onitolo
The referential use of material is emblematic of the transitory nature of existence, drawing attention to the significance of an epistemic concern. This takes into consideration a holistic embodiment of a matrix that is multi referential. The work posits frames of legacy and an understanding of arguable Manichean appeals. 

Solastalgia: Materialising a Sense of Place  

Aiseling Noone

46-05, Frenchay
Aiseling Noone
Responding to the emotional and mental impact of climate emergency, my visual practice takes the position of local advocacy focusing on a small local woodland. This acts as a conceptual framework based on the abstraction and manipulation of forms drawn from Ballyhighland woods, using screen print, textile and recycled materials.

Mental Health Monsters

Sara Nowell

46-06, Frenchay
A New Beginning, Sara Nowell
Mental illness can impact anyone, anywhere, at any age. It can be experienced as a sufferer or support role.
Using participatory research on mental illnesses (depression, eating disorders and suicide) provide the artwork narrative. Print voices feelings through colour, line, process, and illustration.
Can art break boundaries and action change? 

The Architectural Uncanny - Revisited

Sumi Perera

46-09, Frenchay
Sumi Perera
An interactive multimodular artistbook-installation that reflects on homelessness, which is so far removed from the idealism of the neo-avantgarde of ‘starchitects’.
Reflecting the nomadic/‘wobbly’ existence of the artist, it’s designed as flat-packed structures that can expand/contract to occupy any given space/dimension, thus explores the fugitive nature of home and shelter.


Maitiú Mac Cárthaigh 

46-10, Frenchay and Virtual
Maitiú Mac Cárthaigh
Aduantas, a strange feeling caused by unfamiliar surroundings. This work is concerned with constructing alternative agricultural spaces, derived from the rural landscape and decaying architecture of Ireland, spaces that I can inherit and inhabit. Within these works, examine ideas of labour, land ownership, male dominance, and lack of Queer identity. 

Emergency Meeting Place

Katie Baldwin

46-12, Frenchay 
Katie Baldwin
In 2021, I rode my bike along the nearly empty streets of Taipei in the sweltering summer heat to visit wetlands, gardens, canals, and parks. I was inspired to create a series of narrative woodblock prints that capture my experience of being in a specific time and place.


Anna Bredenberg

46-13, Frenchay
Wavering, Anna Bredenberg
Wavering is a body of work where I examine disintegration as a slow, almost imperceptible process. I use thin paper that enables a layered and collage-like finish. The translucency and sensitivity of the paper connect with the thematics of my work about volatility and fragility.

Edge of Infinity

Johann Booyens

46-14, Frenchay
It Can Speak for Itself, Johann Booyens
Colour blends and fades appear in many types of print. Blends provide emotional content to the image, pulling the viewer in to explore the depths of shadows and the gleam of light. The portfolio shows the work of twenty international artists who have interpreted colour blends in original ways.
Johann Booyens, Natalia Bojarska, Kanae Park

Bees Wax, Tallow and Pine

Laura Clarke, Bea Haines and Olivia Hicks

20-01, Frenchay
Portalweave, Hicks, Haines, Clarke
White Magic and Printmaking go hand in hand with their roots in tradition, ritualistic process, symbolism and alchemy, both using material transformations to probe the nature of reality. Print, like Witchcraft has its own lineage, a history that can be traced back, a reliance of knowledge passed down.

Beyond DPP1-De-constructing and Re-constructing the Wet-plate Collodion Process

Frank Menger

20-02, Frenchay
Merudanda, Niamh Fahy
This work imagines a shifting boundary between internal dialogues and the embodied experience of landscape. Merudanada is the sanskirt word for spine, meru referring to peak or mountain while danda translates as stick, here an in-between space is imagined where body and landscape connect. Niamh Fahy
Tony Richards, Niamh Fahy, Ian Chamberlain, Mark Osterman, France Scully Osterman, Paul, Zsuzsanna Szegedy-Maszak, Alan Hodgson, Rob Ball, Jo Gane, Adrienne Lundgren, Rachel Wetzel, Chihoko Ando, Erin Solomons, Christian Klant, Steve Le Grys, Alex Boyd, William Nieberding, Chun Wai Yeung, Shreya Mukherjee, ASHLEIGH BLACK

20-02, Frenchay
Syntheticlandscape, Ian Chamberlain
Collodion glass negatives are overlayed and scanned, enhancing figurative elements and abstracting sections.
This abstracted imagery gives a sense of transition and a state of flux in the shelters creation, offering a duality in that the structures themselves are made for protection but are also temporary and will disappear.
Ian Chamberlain

Slow Scrutiny: Approaches to Printmaking in a Time of Covid

Johanna Love

20-03, Frenchay
Johanna Love
The work reveals distinct strategies through the process of printmaking to address the sense of introspection brought on by the pandemic and to highlight the power of imagination. Together, they reveal new insights in how print engages with our sense of touch, distance, presence and time in a post-pandemic world.  
Johanna Love, Leora Brook, Paul Coldwell

Natural Proximity by Geographies of Print Collective

Victoria Arney

20-04, Frenchay
Victoria Arney
In Natural Proximity we offer a contemplative view of the organic threads that connect us, pushing the boundaries of time, touch and intuition in printmaking.
We give voice to our encounter with deep time, and the intrinsic fluidity and melody of the landscapes we inhabit, both internal and external. 
Victoria Arney / Carol Wyss / Victoria Ahrens 

Thinking of Place iii

Dr Laurel McKenzie

20-05, Frenchay
Thinking of place iii
Thinking of Place iii, a collaborative print project involving 4-6 artists from 16 international printmaking groups, invited participants to create work that invokes a legend, myth or aspect of ancestral heritage in relation to their personal identification with geographic place. 85 artists respond to specific localities and shared cultural legacies.
Full list of artists names can be viewed below: 

The Printmakers Garden of Imagination

James Pasakos

20-06, Frenchay
Garden of imagination, Dianne Longley
The theme conjures a multiplicity of ideas, from our experiences of gardens/nature.
Print artists explore through mark-making/repetition of movements/thoughts become almost a meditation/prayer, nourishment of the soul.
As the soil of a garden is the nourishment for the plants. Living in isolation has underpinned a re-imagining of our creative expression.
Loris Button, Anne Langdon, James Pasakos, Dianne Longley, Barbara Semler, Marte Newcombe, Deborah Klein, Jan Palethorpe, Susan Clarke, Leonie Auhl, Robyn Gibson, Jackie Gorring, Marie Mason, Emma Stoneman, Penny Peckham,
Diana Orinda Burns, Melissa Proposch, Catherine Pilgrim.

Inheriting — Art Horizon Hong Kong Printmaking Exchange Exhibition

Curator, Wilson Yeung Chun Wai

20-07, Frenchay
Inheriting — Art Horizon Hong Kong Printmaking Exchange Exhibition
Organized by the Art Horizon Printmaking Workshop, the Inheriting exhibition invited seven Hong Kong artists who are passionate about contemporary printmaking to express their feelings on social and educational issues. This exhibition revolves around three concepts: ‘Care’, ‘Nourishment’ and ‘Sustainability’, echoing the theme of IMPACT 12 - The Printmakers’ Voice.
Avery Hong Lam Lau, Cecilia Hui Long Wai, June Ho Hang Yi, Liu Siu Jane, Ma Kwai Shun, Paul Louey, Sara Lee.

Trans-pandemic Perspectives – Looking for the Light
Alicja Habisiak-Matczak - Experimental Intaglio and Woodcut

Alicja Habisiak-Matczak

20-08, Frenchay
On the Move, woodcut, Alicja Habisiak-Matczak
My black and white woodcuts and intaglio prints, created between 2020 and 2022, show how several lockdowns and the global insecurity influenced my artistic research. They are a nostalgic tribute to the happy travelling time and to the most important places on the map of my artistic journeys.

Virtual Interconnections

Ana Vivoda

20-09, Frenchay
Virtual Interconnections
Recognizing each other through art unravelled boundaries between artists that have not met outside virtual spaces. Our practices and a need to connect brings us together, console and inspire us in moments of isolations, and anxieties, and encourage us to weave our solitary treads, intertwined in a joint fabric.
Ana Vivoda
Adriana Lucaciu
Arianna Tagliabue
Olesya Dzhurayeva
Taida Jasarevic
Irena Keckes

Make the Changes You Want to Make

Monika Rycerz

20-10, Frenchay
Psyche, Sarah Tokich
Printmaking students/staff from Arts University Plymouth (UK), Belfast School of Art (NI) and Baylor University (USA) have come together to address ways printmaking can act as conduit for connecting people and places. Conversations fostered a culture of care and collaboration; addressing issues of social injustice, hope and geographical boundaries.
Monika Rycerz, Majella Clancy, Kyle Chaput, Kathryn Graham, Winter Rusiloski, Claire Gladstone, Jude Smith,  Sarah Tokich, Wilhelmina Covington, Jo Haskins, Summer Lewis, Nicole Hastings, Finn Steel, Zara Montoya, Peter Carrington, Sue Bown, Lili Martin, Kerri O’Hare, Shereon Knowles, Trina Wilson, Lydia Bell, Sarah Voysey, Amanda Smith, Amy Johnston.

Olhava as Seen from the Map of Volkhov

Outi Koivisto

20-11, Frenchay
Olhava as seen from the map of Volkhov
I worked in Olhava, Finland and explored the place by using a map of Volkhov (Olhava in Finnish), Russia. I used a frottage-technique to reproduce elements in the environment and drew a reproduction on a block of wood, carved and again rubbed them on paper with a pencil.

Quickies with Tetra Pak and Packing Cartons

Katrin Graalmann, Curator 

20-13, Frenchay
Sabeth Magnon
A selection of monotypes was created by students at the Academy of Fine Arts in Mainz, Germany. Although all traditional printmaking techniques are taught and provided in our workshop, my students favour quick and unconventional procedures. 

Miranda Dupa, Julia Fischer, Larissa Frömel, Sabeth Magnon, Klara Stadion

Re-marks on the Periphery

Josephine Duffy

20-14, Frenchay
Re-Marks on the Periphery
Our 'footprint' on inland Australia continuously unfurls devastating impacts on riverine ecosystems.
Mis-managed water flows cause excessive washing, subtly eroding wetland soils and destabilizing riverbanks.
Centuries-old River Redgum trees along the river rim, fall, severing deeply connected aquatic habitats.
Unnaturally repetitive wash layers indelibly mark already fragile peripheries.

Social Anoxia

Carolyn McKenzie Craig

20-15, Frenchay
Carolyn Craig
Social Anoxia isolates the breathe to consider how power operates over the body. The work uses the performative trace of print to build a personal breathing apparatus – to make copies of acts of survival to reclaim a presence in a world that seems to be negating space all around me.


Aoife Scott, Curator

20-16, Frenchay
Succulents, Sharon Lee
Both nature and print can be seen as cyclical, combining additive & reductive steps that mirror growth & harvest with an important element of repetition. Geomancy will explore printmaking through the prism of the natural world, highlighting some of the links and harmonies of our symbiotic relationship with nature. 

Ailbhe Barrett, Clare Henderson, Yoko Akino, Niamh Flanagan, Niamh McGuinne, Kate McDonagh, Gráinne Cuffe, Louise Leonard, Sharon Lee, Susan Early, Éilís Murphy, Aoife Scott, Gwen O’Dowd,  Mary Lohan,  Ami Jackson, Ria Czerniak-LeBov.

For more information on the group show.

Leave no Trace

Marta Kubiak

20-17, Frenchay
What I see now, Marta Kubiak
It would seem that awareness of the deepening climate crisis and its consequences is growing, but observation of even our closest surroundings shows that the opposite is true - traces of our presence are everywhere. We can no longer leave a place as we found it.
Artists: Majka Dokudowicz, Zuzanna Dyrda, Marta Kubiak, Marta Pogorzelec, Michalina W. Klasik.

Proof of Life

Bea Haines

20-18, Frenchay
Bea Haines
These artworks document the strong human impulse to make a mark through graffiti left on over-bed tables in a boarding school Sanatorium. The snippets of text engraved into the surface of the wooden tables have been meticulously recorded through frottage, offering an intimate insight into the thoughts and ailments of students. Each cluster of rubbings represent a different illness. This moving and life-affirming body of work documents intentional traces made during historic pandemics along with individual illness. It is particularly relevant today, offering a poignant reminder of the human spirit in the face of adversity.

On the Slide

Victoria Ahrens

20-19, Frenchay
Latitude, Victoria Ahrens
‘On the Slide’ is an exhibition of photo etchings and image objects that look to challenge our encounter of landscapes in the process of deep change. Victoria uses sculptural book objects that tilt on plinths in precarious formations, referencing our strained relationship with spaces where memory and history overlap.

Hand in Hand in Hand 

Libby Hague

20-22, Frenchay
Hand in Hand in Hand
This exhibition, along with our panel presentation, considers synergy, collaboration and isolation in the context of covid. We are long-time friends, having met at Open Studio, Toronto’s major printshop. Over the years we have engaged with each other’s work; we always noted commonalities in our poetic and empathic sensibilities.
Yael Brotman, Libby Hague, Richard Sewell.


Carol Wilhide Justin

20-23, Frenchay
A collaborative work made during lockdown from fragments of unwanted, surplus or discarded prints sent in the post to be worked on using drawing, suminagashi, collage and sashiko techniques before being returned to sender. The process involved being open to experimentation and trusting in each other’s contribution.
Carol Wilhide Justin, Caroline Areskog Jones.

Sir Sidney Nolan Unknown Photocopies

David Ferry 

Atrium 02, Frenchay
untitled photocopy, Sir Sidney Nolan
A selection of unknown and previously unseen photocopy works by the influential Australian artist Sidney Nolan. These copies were discovered in 2021 following an extensive audit of his former studio and estate on the Herefordshire/Powys 'Boarders' in the UK by Professor David Ferry RE and Trust staff.
Artists: Sir Sidney Nolan, OM. AC. CBE. RA. Hon RE


David Faithfull

Atrium 04, Frenchay
OCEAN.2 is an interactive Environmental Awareness Installation utilising experimental ‘Crystal’ Prints. These include locally sourced seawater and a natural pigment/seaweed medium. OCEAN.2 reflects some of the major issues of plastics and microplastic fragments in marine environments as well as the use of acrylics and emulsions in contemporary Printmaking practice.

Thames Run: Source to Sea

Véronique Chance

Atrium 05, Frenchay
Thames Run: Source to Sea
Thames Run: Source to Sea was an artwork originally live-streamed and performed as part of the Estuary Festival from 31st May-13th June 2021. For Impact 12, the artist has transformed this work into a multi-media installation of overlapping sound and image, emphasising the mediated and reproductive nature of the work.

The Resistance of Light

Altea Grau Vidal

Atrium 06, Frenchay
The Resistance of Light
Absent and present, saying and silent, on the page or invisible.
This exhibition is the result of an enquiry into the very fundamentals of the print processes. Using the echo, reflection and duality of processes to produce a poetic rupture between absence and presence and what is real and tangible. 

Micronarratives of the Global State of the World

Association of Fine Artists of Serbia, Printmaking section

Atrium 07, Frenchay
Aleksandar Mladenovic, Conspiracy of Theory-Eurimona
The group exhibition "Micronarratives of the global state of the world" actualizes the impact of the COVID-19 pandemic on people's life and work, including artistic practice. Accordingly, the exhibition presents several different, close or opposite personal and intimate perspectives on the social, economic, geopolitical and/or environmental effects that the pandemic has globally.
Artists: Aleksandar Leka Mladenovic, Ana Milosavljevic, Bojan Otasevis, Gorica Miletic-Omcikus, Jelena Jocic, Jovana Djordjevic, Maja Simic, Mihailo Stanisavac, Mila Sretenovic, Milos Djordjevic, Nenad Zeljic, Nikola Radosavljevic, Snezana Petrovic, Tamara Pajkovic and Vladimir Lalic.

Conversation Pieces from the Museum of Unrest

John Phillips

Atrium 08, Frenchay
We are a little worried small, John Phillips
This exhibition brings together five artists whose works provoke, invite or record conversations about social justice, colonial history, collective memory and everyday life. The exhibition celebrates the launch of The Museum of Unrest, a resource for artists and communities engaged in art, design and social and environmental justice.
Artists: Naiza Khan, Naho Matsuda, David Palacios, John Phillips, Lilianna Romero. 

Exploring the Self, Portraying the World

Alicia Candiani

Atrium 09, Frenchay and Virtual
Exploring the Self, Portraying the World
The Self-Portraits Project is a work-in-progress that Argentine artist Alicia Candiani has been developing since 2006. In it worldwide artists have been addressing self-representation focusing on both the artists’ political, social and psychological concerns as well as the culture and the territory they live in.
Alicia Candiani´s international project in collaboration with more than 100 artists around the world.

Angel Down

Jennifer Yue

Atrium 10, Frenchay
Angel Down
The sacredness inherent in those places is still lingering in the time and nature, even if the people are gone. Constructing a church effigy would gather our hopes and blessings. After our whole-hearted sacrifice, the fragility of our faith will be undergoing repeated change, destruction, and finally rebirth.
Kylie Chung, Jessica Chan, David Jasper Wong and Yue Yuen Yu Jennifer.

The World is a Handkerchief : The World in a Handkerchief

Cecilia Mandrile

Atrium 11, Frenchay
The World is a Handkerchief : The World in a Handkerchief
Handkerchiefs have accompanied people in celebrations and farewells in many cultures for centuries, offering bodily protection and coverage, sustained expressions of political tenets and spiritual beliefs. In this international travelling project, a genealogy of printed handkerchiefs become vessels of home memories, itinerant narratives, wound translators and signals of ideological resistance.
A Wandering Project by Claudia DeMonte & Cecilia Mandrile.
Full list of artists names can be viewed below: 

The UAL: Camberwell MAFA Printmaking Collaborative

Giorgia Boller-Bruni

Atrium 12, Frenchay
This collaborative multidisciplinary exhibition focuses on developing the contemporary language of print. With reoccurring themes of Place, Memory, Dreams and Process Manipulation, the works open a dialogue between these ideas and opinions, informed by the ever-growing community within fine art printmaking.
Evangeline Morris, Miles Lauterwasser, Giorgia Bruni, Nan Zhu, Ivy Zhu, Emma Sielaff, Teresita Jiménez Garces, Peizhen Chu (Joy), Mikaela Wang, Xin Cao, Jingyao Liu (Azure), Yue Su, Anita Pelnana.

Echo, a Print-based Animation in 7 acts with Interludes

Saskia Jetten

Atrium 13, Frenchay and Virtual
'Echo', Saskia Jetten
‘Echo’ is a print-based animation in 7 acts with interludes.
The sequences in this stop motion animation act as a graphic score for my (printmakers’) voice. It is produced during lockdown so ‘Touch’ became the key word; the hand made, the out of reach as well as the reaching out. 

3D Toolprinting for Clay Extrusion

Tavs Jorgensen

Fruit 01, Frenchay 
Tool Printing, Tavs Jorgensen
This exhibition showcases the use of 3D printing to create tools for research explorations into clay extrusion. The tools exhibited are the extrusion profiles - also know as dies, which are most central part of the process. The exhibition also includes examples of the creative outputs of the research. 


Katie Ravenscraig

Fruit 02, Frenchay 
Misprint is both a book and site-specific exhibition. We are celebrating the misprint; mistakes, serendipity, growth, progress, metamorphosis, variations, change.
Made up of local artists work, pages have naturally evolved throughout the project as they are overprinted, paired, swapped, or torn apart during the Riso printing process - creating hybrid artworks. 

Quitapenas Nursery : The Life of a Print

Cecilia Mandrile

Fruit 03, Frenchay 
Quitapenas Nursery, Cecilia Mandrille
Quitapenas Nursery means a humble tribute to the unhugged, a tangible response to the shared traces left by a global pandemic. Here, a community of printed sorrow dolls born in diaspora during lockdown, awaits to be held, inviting visitors to expand the community with the impact of their own touch.



Gossip and Touch Project

Maureen Gamble

Fruit 05, Frenchay
Gossip and Touch Project
This collaborative project reclaims what’s been lost: gossip during the time of Covid. As we begin to emerge from this pandemic, delegates at the Impact 12 Conference are invited to share stories about others that touched them during lockdown. The artists will then read these out aloud during the conference.
Maureen Gamble, Pippa Galpin.

WORD of MOUTH : BOCA A BOCA Artist's Bookwork

Maureen Gamble

Fruit 06, Frenchay 
WORD of MOUTH’: ‘BOCA a BOCA’ Artist's Bookwork
This artist’s bookwork ‘WORD of MOUTH’: ‘BOCA A BOCA’ contains the collective responses of 240 individual delegates at IMPACT 10. The original printed paper bags have been bound in a way that ensures the words inside each remains inaccessible and private, thus retaining the integrity of this unique print project.

Natural Persistencia/ Natural Persistence 

Ireri Topete

Fruit 07, Frenchay and Virtual
Ireri Topete
The nature is persistent. Although she suffers multiple attacks, she does not stop; she responds, either by means of her cyclical or surprising phenomena (they never cease to be so, even if they are expected), or by means of new phenomena that are a consequence of human pressures

An Industrial Craft Reinstated: A Printmaker’s Perspective on Tissue Transferware

Lisa Sheppy

Fruit 08, Frenchay 
An industrial craft reinstated: A printmaker’s perspective on tissue transferware
Lisa Sheppy submitted her doctoral study earlier this year, titled ‘An industrial craft reinstated: A printmaker’s perspective on tissue transferware’. These chosen works present the creative findings as materialised art pieces to advocate a new method of ceramic printmaking production for creative practitioners.

± (Plus or Minus)  

Sonny Lightfoot

Fruit 09, Frenchay
± (Plus or Minus)
As a showcase of digitally manufactured artefacts, ± (Plus or Minus) invites the audience to explore the mark making of the computer-controlled machine. A body of work investigating non-planarity, digital expression, and the language of the machine by combining traditional bronze casting and digital manufacturing.
Artists: Michael White, Michael Joyce, Sonny Lightfoot.


Antonietta Covino-Beehre

Fruit 10, Frenchay
The BG's Special TPV sessions offer a unique listening experience for exhibition visitors. Three interviews are played on loop, throughout the minimalist setup allowing the audience to feel as though they are a part of the discussion, giving a voice to the artists' creative journey as a printmaker and artist.
Artists: Podcasters: Antonietta Covino-Beehre Cohost: Teresa Hsieh and special guest host: Emma Stoneman

Sound and Vision

Leonie Connellan

Fruit 11, Frenchay 
Do you dream of invisible sounds, Leonie Connellan
Sound and Vision presents a number of small scale zines produced by Leonie Connellan throughout 2022, collecting imagery and essays on the impact of music as both a personal and shared experience.


The Turkish Artist Printmakers Association

Lecture theatre, Frenchay
A selection from contemporary Turkish printmaking artists… In the group exhibition “Co-Traces”, the subjects of Identity, Belonging, Tradition, History, Nature, Life, Existence were discussed. There are works of 23 artists, who are members of the Turkish Printmaking Artists Association, made with different classical techniques such as engraving, lithography and silkscreen.
Ayşegül KALKAN AK, Atilla ATAR, Nükhet ATAR, Selvihan KILIÇ ATEŞ, Güldane ARAZ AY, Tezcan BAHAR, Deniz BAYAV, Hatice BENGİSU, Saime DÖNMEZER, Enis Malik DURAN, Ayşen ERTE, Esra KİZİR GÖKÇEN, Sezin TÜRK KAYA, Gökçe Aysun KILIÇ, Gülbin KOÇAK, Musa KÖKSAL, Mustafa KÜÇÜKÖNER, Belgin ONAR, Erhun ŞENGÜL, Sema ILGAZ TEMEL, Fevzi TÜFEKÇİ, Melihat TÜZÜN, Kübra YILDIZ.

Activist Alphabet

Christine Felce

Lecture theatre, Frenchay 
Activist Alphabet
The Activist Alphabet is 26 printed works & poems inspired by reading around green economics, plant, animal, and mushroom communication's. Working on the Alphabet, I feel the crisis of climate is a human relationships crisis. We need philosophies of kindness, gratitude for the earth, insects and animals that support us.

Patina of Governance

Caroline Areskogjones

OEP 1, Frenchay 
Etching, gouache on zerkall, Caroline Areskogjones
Inspired by discussions on democracy and the fresco series 'An allegory of good and bad government' by Ambrogio Lorenzetti (1338 - 1339): this experimental installation of printed matter acts as a palimpsest of echoes, weathered surfaces, hints of narrative and speculative imaginings reflecting the chaos of contemporary governance.


Suzannah O Reilly and Gemma Dardis

OEP 2, Frenchay 
Lining photogram detail, O Reilly and Dardis
Central to this body of work is a consequence of the activity of printing. The lining used by the hand to remove the excess ink from the surface of an intaglio plate is the evidence of touch. The lining has become the focal point recharged and resolved in processes.

Made Up

Jennifer Gathercole

OEP 3, Frenchay 
The Kind Hearted Gilet, Jennifer Gathercole
Jennifer’s Made Up project explores hidden, emotionally freighted family narratives. The work plays with fabrication - both materially and in the ways we re-fabricate our histories. The ‘Made up’ works provided a contained space for others to share their hidden stories during the pandemic. You are invited to share too. 

Behind Closed Doors. Archaeology of the Strike

Marija Marcelionytė-Paliukė

OEP 4, Frenchay and Virtual 
Behind closed doors. Archaeology of the Strike
What violence against ourselves or from the world do we experience behind closed doors in these uncertain times? With the visual elements of the installation, I invite you to rethink this trace left in the soul, mind and body, which can be given shape with the help of printmaking media.


Laura Rosser

OEP 5, Frenchay
Laura Rosser’s practice considers the agency of error in human and machine interactions. Taking as its departure point how information breaks-down when it is transferred, repeated, and retold using analogue and digital print technologies. [mis]Feeds embraces errors that unfold between printer bodies and online technologies, creating a global feedback loop.

Engaged: The Show Must Go On

Kate Fraser

OEP 6, Frenchay
Perpetual Cubes
Four graduates of UWE's MA in Multidisciplinary Printmaking explore and experiment with a diverse mix of traditional and emerging fine art printmaking media, challenging what makes a print. The diverse, thought provoking and experiential prints, underpinned by theoretical research, are focused on critical thinking and explore 21st century methodologies.
Kate Fraser, Sally Gaden, Jennifer Gathercole, Emma Studd

From the Inside

Martyna Rzepecka

OEP 7, Frenchay
During the printmaking process, a printmaker make a trail on graphic skin - matrix. She/he produces the leftovers from the matrix, which are throw away, but without them will be no prints. Here I speak about this invisible parts of graphic process in which important and used are our the senses.

Modern Relics

Matthew Lintott

6 Leonard Lane,
Bristol, BS1 1EA
Matthew Lintott, Modern Relics
This show at Centre Space Gallery, Bristol is about collaboration, collaboration with the past, the ancient and the dead. To look back as a catalyst for transformation of the present, and to honour what has gone before.


Ria: Everything Remembered is Dear, Everything Remembered is There

Lihie Talmor

Ria: everything remembered is dear, everything remembered is there
In 2013, I travelled with my daughter through the American South, retracing the footsteps of the not-yet-famous Elvis Presley. Photographs, prints, interviews and field notes turned into an account of our journey. Together, these modes of representation form Ría, an artist book that deals with places as wounds of absence.

Top End Reflections

Glynis Lee

Top End Reflections
This installation celebrates nature in the Top End of Northern Australia. 3-dimensional intaglio prints and sculptures rise from the ground to meet hanging deconstructed relief, intaglio prints and textile forms. Etchings and screenprints dot the walls. Our hope is that this work provides a sense of mindfulness, reflection and enjoyment.
Glynis LEE, Nena ZANOS, Kerrie TAYLOR, Daniela EUGSTER

Do Not Touch

Irena Keckes & Katarzyna Zimna (femigraphic)

Do Not Touch
Experimental printmaking strategies and two voices in a dialogue referring to the ambiguous connotations of touch. The contexts include the pandemic and “the new normal” in art and social life and also the perspective of women taking care of their safety zone in terms of their bodies, rights and beliefs.


Open Bite Printmakers Inc.

The Urban Environment is the theme chosen by Open Bite Printmakers Inc. They encompass diversity and multiplicity. The images contained within this wall of prints and sculptures, consist of the personal responses of 18 artists to the notion of the urban environment: its excesses and limitations, the common and the uncommon, the imagined, the historical and the futuristic.

Claude Chamber  –  Printmaking/Moving Image Collaboration Inspired by an 18th Century Viewfinder

Salla Myllylä and
Laura Vainikka 

Claude chamber – printmaking/moving image collaboration inspired by an 18th century viewfinder
The exhibition combines elements of moving image and printmaking. Its starting point is Claude glass, a black convex mirror used by 18th and 19th century painters for viewing landscapes. The installation consists of copper plates and time series filmed via their surfaces. The videos are projected to the space reflected via the same copper plates from which they were filmed.

Hold Dear

Marion Wassenaar

Lifelines, Marion Wassenaar
Hold Dear unites artists from the Print Studio at the Dunedin School of Art, New Zealand. Tactile interaction with the historic Quarantine Island creates a physical, community environment. Power relationships and sexual politics stroke intimacy through stop motion. Grappling with deprived contact laments isolation and the vanishing freedoms of children.
Marion Wassenaar, Kiri Mitchell, Lynn Taylor 

Protest with Veins

Sarah Sipling

Protest with Veins
My work focuses on ideas of protest, power, and perception. I make large, colorful mixed media works, working towards hope and the need for change in the political and social realm.

About the PRISM Book Series

Randi Annie Strand

Prism 1, Randi Annie Strand
Book series inspired by the light refraction phenomenon, and how different color mixtures behave in a given material. Made of a thin, translucent, porous Japanese paper that lets in a lot of light. Relief print. The books are filmed, the films are separate artworks.


Fernando Feijoo 

Hell on earth, Fernando Feijoo
Humanity’s destruction of the planet and their consequent self-annihilation is examined within the Inferno series.This body of work is a contemporary exploration and interpretation of Dante’s Inferno.
The world disintegrates, a pandemic rages, war erupts, temperatures boil, waterways flood, and the Earth is metamorphosed into something different.

The impact man has on the planet and the effects of these actions; the imprint of man on the natural world; the infliction of wrongs on fellow humans: all these feed into, and suffuse the large scale work that Feijoo produces.These are visions which stand alone or form part of a larger series of work and explore the traditions of narrative display, using diptych and triptych formats to represent the passage of time.

Waiting for the Future

Maria Gabriela Zgaib

Encuentro Meeting 2020, Maria Gabriela Zgaib
My print “Encuentro” “Meeting "represents the relationship between the things we have lost because of COVID19 and all the changes that emerge after it.
This print tries to show the complex emotional, intellectual and social instability and the conspicuous circumstances that the pandemic has brought on by fear.
All the other Works of “Esperando el porvenir “” Waiting for the future” are closely related to my print.      

Indian Ocean Ceremony 

Layli Rakhsha

Layli Rakhsha, 2021, Latif (Elegant)
The Indian Ocean ceremony project reflects a symbolic relationship between the idea of home, boundaries, and the Indian Ocean water. The initial idea of this project began when I looked through binoculars at a boat in the sea and saw a boat within a solid boundary and unchangeable circle.
We keep hearing that many asylum seekers and children are still losing their lives in the Indian Ocean waters while heading to a country far away from their homeland, and there are still political negotiations and concerns about people who put their lives in danger by finding a home in this way. For me, hearing the news about the number of illegal boats and people drowned in the water evokes my feelings and the idea of home. Many questions are raised, and I try to imagine the experiences the people would have had in their journey towards a home. I feel that the ocean carries their stories; stories that echo sorrow yet desire for a home.
In this project, I explore the greatness and dignity of human beings and how to visualise the ocean as a path for seeking a home. Each work reflects an image of Indian Ocean water and handcrafted a name related to a particular attribute to a human being.
Sitting in my quiet studio and thinking of home, boundaries, dignity and imaging the solid circle on the printed images of the water simultaneously work to shape my project, which allows me to visualise their stories and hear my thoughts louder.

At the Speed of Light

Nicci Haynes and
Catherine Cartwright 

The Cost, Nicci Haynes
At the speed of light comprises films made by printmakers who combine video and animation into their practices, using the print as a matrix to be cut and collaged and rearranged. Everyday print technology is enlisted: the photocopier, the receipt printer, the monoprint. The print proof becomes a film frame.

The Glasshouse

Jenny Robinson

The Glasshouse
An installation comprising of five tiered, 2 layered, controlled cascade of tightly packed white and indigo drypoints printed on multiple separate sheets of transparent, overlapping gampi paper. The suspended work, floating in space, allowing viewers to walk around it while the movement of air subtly sways the image.

Documenting Border Barriers

Pamela Dodds

DETAIL, Spain-Morocco Boarder Barrier, Pamela Dodds
An ongoing, research-based series of drypoint prints with relief print elements displayed as an installation, with accompanying texts. The work addresses the recent exponential rise in the building of fortified fences and walls on international borders to keep people out. Each print portrays a specific barrier in the world today.


Tricia Treacy

Scaffolding, Tricia Treacy
Scaffolding is an artist book (edition of 22) about grids inspired by systems, objects, and frameworks in physical and natural environments. Printing methods and materials used were risography, lasercut woodblocks, polymer plates and foil stamping. Part of the book was printed with Paul John (Jan van Eyck Academie, Netherlands).

A Week of Angels

Tom Lomax 

Raphael, Tom Lomax
This series of work is derived from the ‘sigils’ of the seven angels of the week, as assigned by Barrett in the Magus.
The engaging of angel forms here is not religious in intent, rather a fascination with the metaphysical human need/desire for such phenomenon, leading to imaginative realms via metaphors that represent the dynamic of the universe.

The Ocean Wave

Ariadna Abadal and
Teofil Androne

Mokulitohanga_01, Ariadna Abadal
We call this technique "Mokulitohanga" because we combine Mokulito, the Japanese Lithography on Wood, with Mokuhanga, the Traditional Japanese Woodcut. Another word that we are using to name this metamorphosis is "Mokulitosurf" because it is the first time that someone reuses a printmaking matrix to convert it into a surfboard.

One Tree Less (Uma árvore a Menos)

Fabio Sapede

One Tree Less (Uma árvore a Menos), Fabio Sapede
The project "One Tree Less" carried out at the height of the pandemic, when, at the same time, we witness an immense devastation of our forests, presupposes a video clip based on a song composed by Igor Caracas, illustrated with 8 engravings in drypoint recorded by Fabio Sapede (at De Etser Atelier - Brazil) and colored with watercolor that gave rise to the stop motion Clip.

Librarian’s Artist’s Books (LAB) Ed Ruscha Challenge

Tom Sowden

Bower Ashton Library
For the Scandinavian Artists’ Books Partnership Project, librarians from the Nordic/Scandinavian countries, and those in the UK, were challenged to make an artist’s book that was influenced by the books produced by Ed Ruscha. The exhibition is on display at Bower Ashton Library for IMPACT 12. 

The Salon for a Speculative Future – How to be in the Future

Monika Oechsler & Sarah Bodman

Study Space at Bower Ashton Library
Elaine, Let’s Get The Hell Out of Here, Nick Grellier and Emily Lucas
The Salon for a Speculative Future was established by artist/curator Monika Oechsler in celebration of Women’s History Month, March 2019. The project has seen exhibitions and a publication over 2020-2021. This new iteration for 2022 in collaboration with Sarah Bodman launches a women artists’ print portfolio and publication.

Alone Together

SPIKED: Leonie Bradley ARE, Jess Bugler RCA, and Prerna Chandiramani 

Centrespace Gallery,
6 Leonard Ln,
Bristol BS1 1EA
Tel: 0117 929 1234
Email: info@centrespacegallery.com
Opening times:
Open daily, 11- 6pm. Friday 23rd September - Wednesday 28th September
Opening party: Friday 23rd September 6-9pm
Alone Together
The installation Alone Together is a hanging body of prints that investigates the spectrum of aloneness from isolation to solitude. Each artist is responding to this spectrum, and their responses are interwoven but individual. Supported using public funding by the National Lottery through Arts Council England. 

Chance and Choice 

Peter Ford RE RWA

Off-Centre Gallery,
13 Cotswold Road,
Windmill Hill,
Bristol BS3 4NX
Viewing times:
21 to 25 Sept, 11am to 5pm. plus other times by arrangement
Tel 07901 874375
Gathering, Peter Ford
This exhibition is focussed on handmade paper and the possibilities of paper as a medium. Showing two- and three-dimensional artworks using embossing and paper pulp combined with relief printing from found materials.

International Ex libris - An Underworld of Printmaking

Peter Ford, Konstantin Kalinovich, Sergei Hrapov, Shigeki Tomura and more

Bristol Central Library (top floor),
College Green,
Bristol BS1 5TL (adjacent to Bristol Cathedral.)
Viewing times:
As library opening hours – Wed 9.30 – 5.00; Thur 9.30 – 7.00; Fri 9.30 – 5.00; Sat 10.00 – 5.00; Sun 1.00 – 5.00.
It will remain on view during library opening hours until Sunday 2 October. 
Blue Vase, Peter Ford
A selection of contemporary international Exlibris (bookplates) to demonstrate the lively world of printmaking on a miniature scale, made in response to commission.
This exhibition opens a window on the network of international exhibitions and print exchange events which exist largely outside the focus of fine art, making world-wide links through generations of collectors.

Please view the International Ex libris poster below.

Intersections Between Text and Visual
Representation: A Shared Environment. 

Catherine Hehir & Crawford Print Media Collective.

Vestibule, Deanery Road
Unbound Box, Catherine Hehir
A multi-disciplinary project created in the print room at MTU Crawford College of Art & Design in collaboration with Poet Sean Borodale .
Which aims to explore the diverse and influential relationship between literature and poetry in regard to contemporary forms of expanded print making and modern book arts.

The Craft of Flight

Stephen Hoskins

Vestibule, Park Street
Lilienthal Feathers, Stephen Hoskins
A exhibition of prints that fly. Stephen Hoskins has been making kite and aeroplane prints for forty years. The works are about the craft of making, delighting in challenging the notions of what constitutes a print and where the perceived borders between fine and applied arts, end and begin. 

Matter out of Place (Witches Knickers)

Nicky Harwood

Frenchay Barn
Dust Sheet One, Nicky Harwood
Concerned with landscape and society's ever expanding relationship with disposable culture and subsequent waste. I choose to print outside, embracing rot, decay and mold in the process, as a means of subverting the traditional ideas and rules of printmaking. And using repair to strengthen and reuse failed or broken materials.



Lead Curator: Aleksandra Janik

F Block Gallery, Bower Ashton
Małgorzata ET BER Warlikowska, My Wealth is Your Poverty
Contemporary printmaking is a hybrid zone where the ranges of new technologies and different media merge and intersect. It is a territory where creations composed of incompatible parts are born and developed. It is a veritable breeding ground for interspecies hybrids.
This exhibition presents works difficult to be classified that still cannot be refused from immanent features of a printmaking medium – creative, two-stage thinking through matrix and print and/or evident multiplicity.
However, the exhibition does not focus strictly on printmaking as a tool and technological issues. Instead, it creates a broad, conceptual framework to accommodate innovative and bold ideas that can be fully expressed only through hybrid or augmented printing. 

Charlotte Biszewski, Laura Bortoloni, Paul Catanese, Fuchen Chu, Laura Clarke, Deborah Cornell, Andrew Folan, Susana Gómez Larrañaga, Vanessa Gallardo Fernández, Bea Haines, OliverHa mbsch, Nicci Haynes, Magdalena Hlawacz, Raluca Iancu, Antía Iglesias Fernández, Michał Krawiec, Monika Lukowska, Graciela Machado, Judith Martinez Estrada, Jonathan McFadden, Małgorzata Oakes, Sioban Piercy, Nicole Pietrantoni, Przemek Pintal, Endi Poskovic, Paweł Puzio, Sarah Robinson, Suzie Smith, Daniela Tagowska, Patricia Villalobos Echeverría, Małgorzata ET BER Warlikowska, Xuewu Zheng,
Katarzyna Zimna.

The Land as Other

Lead Curator: Veronica Calarco

The Island Gallery
Veronica Calarco, Jude Macklin, Lucy Taylor, Claire Morris-Wright, Molly Brown, Paul Croft, Stuart Evans, Catriona Leahy, Flora Mclachlan, Bronwen Sleigh, Lucinda Tanner, Gini Wade, Linda Davies
Image of the curators - left to right: Judy Macklin, Mark Macklin, Veronica Calarco and Lucy Taylor.
 ‘The Land as Other’ curated exhibition has developed from printmaker Dr Veronica Calarco’s transdisciplinary research project, ‘We Live with the Land’ (https://www.cyd-fywartir.com) supported by Aberystwyth University’s Joy Welch Research Fund. Calarco along with printmaker Judy Macklin, Professor Mark Macklin and Dr Lucy Taylor have formed a new collaborative team to help shape and lead this exhibition, building on particularly the long-standing art-geoscience practice developed by Macklin and Macklin over the last 10 years. Ten printmakers have been invited to collaborate with the four curators. Their work addresses the following themes in Wales: deep-time environmental histories; language; a sense of place; a sense of loss; re-wilding; Cymru as ‘Other’; migration and displacement; colonialism and citizenship.
The artists involved in the collaboration practice in England, Ireland, Scotland, Switzerland and Wales. They are each researching different aspects of their personal interaction with the land, whether by observing the intimacies and changes of their local landscape, exploring human modification of the land and it’s intended and unintended consequences, questioning the current socio-ecological status of the land, or telling the story of place through the myths, many of which come from deep time people-environmental interactions. The printmakers create their work using traditional printmaking techniques – lithography, etching, relief – as well as pushing the boundaries of these techniques with caustic soda lino etching, Xerox transfer printing, monotype and marbling mixed media printing, and drawing with soil, berries, charcoal, moss and lichen.
By bringing together artists and researchers from humanities and science ‘The Land as Other’ project and exhibition makes a novel intervention on the conference theme of ‘Merging and Metamorphosis’.

Catching the Light

Lead Curator: Susanne Klein

Bower Ashton Publishing Space OC2/3
Colour is not only the interaction between the object and light, but also only exists in the brain of the observer.
In traditional print, the shadows are printed, i.e., dark marks on light substrates. The illusion of light is created by shadows. Different printing techniques use different methods to trick the mind into perceiving light and shadow and see an image. Embossing or debossing, for example, uses the height difference in the paper to make an image visible by its shadow. The image moves when the print is moved. A similar image change happens when speciality pigments or metallic foils are used which reflect light in different
ways. These can range from gold or silver films and glitter on chocolate packaging to the subtle shades of Karakami paper printed by wood block and mica powder. Printing on a black substrate creates new challenges. This time not the shadows but the light is printed, and the image composition must be changed. In the exhibition artists demonstrate how they catch the light and create colour in print to provoke specific
reactions in the audience. 
Abigail Trujillo Vazquez, Ann-Margreth Bohl, Anna Trojanowska, Ben Goodman, Chris Daly, Claire Haley, Harriet Fuller , Helen Gleeson, Judith Martinez Estrada, Kate Bernstein, Nicole Pietrantoni, Nif Hodgson, Robyn Maclennan, Robyn Moore, Rolf Wagner, Tabitha Fedden, Teresita Jiménez, Wojciech Tylbor-Kubrakiewicz.

Split Practices

Lead Curator: Marina Petit

The Island Gallery
Split Practice’s curatorial concept is inspired by a quote from an interview by a Polish printmaker, Krzysztof Tomalski, “I do not believe in a void” when asked about the pandemic, meaning that we continued to build our narratives and practices even when faced with the new normal.
Printmaking narratives and practices presented here reflect contemporary printmaking achievements and new artistic expressions building on combinations of old and new, classical printmaking techniques and digital printmaking, technology and manual work, embedded in our social, historical and cultural experiences we had to face in these new paradigms. The paradigm shift, that cannot be unlearnt, is that practice to exhibit and have contact with the printmaking artworks, objects and other fellow humans, is essential and has remained so. The world has changed, our thoughts, methods and processes adapted, but the final aim of staging an actual exhibition has stayed the same.
Within the title, the verb “split” refers to the idea that everything we knew so far has been broken and torn to pieces, but that we can mend this with showing expressions in printmaking practices that decide to bridge the void. Exhibiting it to the public and realising that seeing the paper, the print, the format, the colour, is the paradigm that cannot be surpassed. “Split” is also a reference to the Splitgraphic Biennial and the town of Split that has been hosting it even during the pandemic years. The selected artists, each in their own printmaking voice, present their artistic narratives created during the challenging pandemic time. 
Marina Petit, Alba Urquia, Ana Vivoda, Paul Uhlmann, Mariga Toskovic, Krysztof Tomalski, Tracy Templeton, Theresa Taylor, Marija Staneviciute, Tiril Schroder, Martha Oatway, Veronica Noriega, Marianna Maslova, Pavo Majic, Ingrid Ledent Wojciech-Tylbor Kubrakiewicz, Raluca Iancu, Oliver Hambsch, Scott Lee Freeland, Leonie Bradley, Sue Bown, Laura Berman, Susan Belau.

The Anxiety of Interdisciplinarity

Lead Curators: Ayeshah Zolghadr and Sarah Strachan

The Venue, Downstairs of The Island Gallery
The Anxiety of Interdisciplinarity is an exhibition which seeks to reframe printmaking as a site of interdisciplinarity - a testing ground for ‘The important work…done at the surfaces between adjacent disciplines’ (Carter, 1998). Acknowledging interdisciplinarity as a potential site of ambivalence, tension or a fertile ground for exploration and experimentation, international artists in this exhibition respond to this provocation. Motivated by IMPACT 12’s theme ‘Merging and Metamorphosis’, the exhibition aims to trace the metamorphosis of conversations between disciplines, work and within the exhibition spaces.
Installed at a former police station in Bristol, the Island Venue hosts art works in an outdoor courtyard, police cells and subterranean motor vehicle storage area. The hybrid exhibition includes works of differing materials, scales and dimensions across installation, sculpture, sound, moving image, digital and post-digital media.
Curated by two Cambridge School of Art, MA Fine Art and MA Printmaking students, Sarah Strachan and Ayeshah Zolghadr, the liminal nature of the space has also prompted collaborative and site-responsive works. While Sarah transitions into print from sculpture and ceramics, Ayeshah translates an architectural background into print and back again. Both continue to investigate the spaces in between 2D and 3D – as artists and curators.
Adjacent to the physical exhibition, an online companion space shares an extended range of works, in parallel to a series of informal artist talks. A digital catalogue, introduced by Dr Véronique Chance, marks the exhibition, and encourages an ongoing conversation.
Please see full list of artists names below: