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Chris Orr RA RE, Film Noir in Colour - Times Square, New York, lithograph & relief print
O IN RIG TS IN 20 AL 15
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This catalogue marks the 135th annual exhibition of the Royal Society of Painter-Printmakers. We have many reasons to feel both proud and optimistic about our Society. We have outstanding work from countless long-standing and very gifted members. Those new to our walls include 5 artists elected this year and two associate members who are the winners of the Gwen May Student prizes. They are all of an extremely high calibre. Whilst the Annual Exhibition remains the major showcase of our members’ work we have worked hard to increase the number of shows in our calendar, with the introduction of both the National Original Print Exhibition and The Masters. I am an ardent champion of the importance of print exhibitions and if asked for a personal reason why, I have a very easy answer – I am a printmaker today because of seeing one. One day in 1990 I was on my way to a meeting on the South Bank and briefly nipped into the Royal Festival Hall to avoid a sudden rain shower. I didn’t have much time but thought I would take a quick look at an exhibition in the foyer gallery. It was a show of prints by Chris Orr and after viewing the second or third piece all thoughts of making it to my appointment on time vanished. I was captivated by these largely monochromatic works with their curious juxtaposition of carefully articulated aquatints with loose, unpremeditated drawings. Also, the focus on the narrative in the pieces was reminiscent of one of my favourite artists, William Hogarth. I never really took to etching when I was at art school, as it seemed like an arcane, messy and largely uncontrollable technique. However, looking at Chris Orr’s etchings the random accidents and inherent unpredictability of the process suddenly seemed like virtues. I was hooked. I signed up for an etching course the following day – a decision that completely changed my life. The shows that we hold down the river at the Bankside Gallery feature an abundance of artists making etchings but also engravings, woodcuts, lithographs, monoprints, screenprints, mezzotints, linocuts, drypoints, digital prints, and every other type of print imaginable. Print is an egalitarian medium unique in the world of art as it is extremely highly regarded and collectible yet affordable enough to have often been an art collector’s first purchase. Our exhibitions have consistently been successful and well attended and I trust that this one will be too. Beyond that I only hope that the odd serendipitous rain shower forces a young artist inside and that he or she lingers long enough to be inspired to become one of the next generation of printmakers.
Mychael Barratt PRE Hon RWS 2
EXHIBITION PRIZES ART ANGELS ART ANGELS PUBLISHING PRIZE
£500 purchase prize
CLIFFORD CHANCE PURCHASE PRIZE Jane Hindley will choose a 2015 prize winner
THE HECTOR PURCHASE PRIZE £500 purchase prize from Unwin family for an outstanding print
JOHN PURCHELL PAPER AWARD £150 worth of paper
ASHMOLEAN | VIVIEN LEIGH BEQUEST PRIZE A purchase prize up to £400 for a print by a young or early career artist
HAWTHORN PRINTMAKER SUPPLIES AWARD Materials to the value of £75
INTAGLIO PRINTMAKER PRIZE Materials to the value of £150
LAWRENCE’S PRINTMAKERS PRIZE 64mm x 200mm roller
WYNDHAM PURCHASE PRIZE Selected for a private art collection
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CANNS DOWN PRESS CASH PRIZE £250 prize for a recently graduated or early career artist
HEATHERLEY’S OPEN STUDIO PRIZE £240 vouchers for 10 x 2.5 h life drawing sessions
JACKSON’S ART MATERIALS PRIZE Materials to the value of £150
PRINTMAKING TODAY PRIZE An editorial feature in the magazine
DEBORAH ROSLUND HON RE PURCHASE PRIZE Purchase prize to the value of the selected print
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PRINT a thrilling alchemy Prints are accessible original works of art, and printmaking has appealed to artists because it offers an almost infinite palette of creative opportunities, yet perceptions of printmaking are often clouded by misapprehensions about process and purpose. Many print processes, notably methods such as etching and lithography are – rightly – seen as crafts requiring specialist technical skills, but on the other hand we can all make prints, and most of us have done. Maybe we began in school with half a potato cut and inked, or perhaps a sheet of lino, or a rubber stamp. Now it is simpler still - with the click of the mouse we can direct an image from a computer screen to print out on paper. Perhaps it is this facility – whether the means are low-tech or high-tech – which has undermined a proper appreciation of the skills of the artist as printmaker, especially amongst audiences already prejudiced by the persistent confusion between those vexed categories ‘original’ and ‘reproduction’. As Julian Opie has said, there is ‘a strange snobbery which makes a hierarchy of editioned and unique works.’ Print is of course a marvellously protean medium: diverse and versatile, it can be simple or complex; using print an artist can produce a unique piece, a numbered edition, or, with digital media, an unlimited number of ‘impressions’. The term ‘print’ itself encompasses a multitude of techniques and materials, strategies and purposes. Since the invention of woodcut as a means of creating multiple exactly repeated images, print has been associated with reproduction. This has fostered a stubborn tendency to regard printmaking as no more than a process of translation by which a unique image in one medium becomes a multiple in another. But thanks to the inventive engagement of the many artists who have worked with print media, printmaking transcended its utilitarian role long ago, and is now increasingly recognised as one of the most dynamic and exciting of the creative arts. Despite the many changes in status and purpose, printmaking has survived and thrived as a medium for original expression because artists have valued the qualities and capacities it offers. Indeed artists have been making prints since the invention of woodcut in 14th-century Europe. From the virtuoso detail of Durer’s woodcuts, and Rembrandt’s densely-worked painterly etchings, to the fluent line and rich tone of Matisse’s lithographs and Picasso’s inventive mastery of everything from lino-cut to sugar-lift aquatint, great artists have made great prints which are universally considered to be exceptional works of art. Today, it is rare to find an artist who has not explored print, and for many it has become a major part of their practice. Lucian Freud, renowned as a painter, was working with etching too, almost to the last; he had no interest in the ‘mysterious paraphernalia of the etching craft’ but he appreciated the value of etching as a spontaneous drawing medium, and revelled in the element of danger and mystery that the process involved: ‘One dip. Really quick and dangerous’, as the plate was plunged into the acid bath, with unpredictable results. From my experience as a curator collecting prints for a public institution, I see artists from all backgrounds working with print processes old and new to ‘push the boundaries’ of what print is and what print can do, constantly challenging and extending the capacities of the various printmaking techniques. There is a thrilling alchemy to print, as Freud’s comments attest, and this encourages invention and experiment. This openness to the unexpected allows prints to surprise even their maker and perhaps to surpass or reshape the original intentions. For some it is this element of surprise that motivates their work with print. For others it is consistency in the achievement of the exactly repeated mark, which is the medium’s particular gift. Printmaking today – manual and digital – is thriving, constantly reinvigorated by new media and new methods, but most importantly by artists dedicated to exploring print’s formal qualities and expressive potential. Gill Saunders Senior Curator of Prints, Victoria & Albert Museum 4
GALLERY
1. Mychael Barratt PRE Hon RWS, A London Map of Days, etching 2. Gerry Baptist RE, Anything You Can Do..., woodcut 3. Morgan Doyle RE, Narrow Strip, lithograph
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4. Sandy Sykes RE, The Universe, unique woodcut with mixed media 5. Peter Ford RE, Stitch Work, calliagraph on handmade paper 6. Stephen Mumberson RE, Hackney Wick I, mixed media 7. Karen Keogh RE, Something Old, Something New, etching
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GALLERY
8. Jeremy Blighton RE, Sissinghurst, aquatint 9. David Carpanini PPRE Hon RWS, The Old Conifers, woodcut 10. Sumi Perera RE, Think Outside The Glass Box, etching & aquatint 11. Emiko Aida RE, Fire, photo-transfer & aquatint 12. Anita Klein PPRE Hon RWS, The Grandchild, lithograph
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13. Gail Brodholt RE, The Motorway, linocut 14. Merlyn Chesterman RE, Atlantic Roller, woodcut 15. Richard Bawden RWS RE, Three Jugs, etching 16. Margaret Ashman RE, Altered Histories, Turner’s Pompeii, photo etching
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GALLERY
17. Jason Hicklin RE, Orasaigh From South Uist, etching & aquatint 18. Ralph Kiggell ARE, Sacred Shape Radiolarian, water-based woodblock print 19. Paul Hawdon RE, Warrior Moth, etching 20. Joe Winkelman PPRE Hon RWS, Bairnwick, etching
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21. Trevor Price VPRE, Contemporary Couple and Their Love of London, relief drypoint 22. Martin Langford RE, After Escher, etching 23. Brenda Hartill RE, Copper Structure I, collagraph with copper leaf
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GALLERY
24. Jude Cowan Montague ARE, Space Donks, collage & monoprint 25. Agathe Sorel RWS RE, Titania at Night, digital print 26. Ruth Uglow RE, Untitled, etching & aquatint 27. Roger Harris RE, Snowbow, mezzotint
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28. Margaret Sellars ARE, Table-turning 2, etching & monoprint 29. Louise Davies RE, The River by Moonlight, etching 30. Meg Dutton RE, Garden Lake, etching 31. Corinna Button RE, Between You and Me V, collograph & monoprint
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GALLERY
32. John Bryce RE, Moonlight Kings Reach, wood engraving 33. Lars Nyberg RE, Shadow of an Unimportant Plant V, drypoint 34. Konstantin Chmutin RE, Arrangement 2, mezzotint 35. Jeff Clarke RE, Garden Table, etching & monoprint 36. John Grigsby RE, Robbery, etching
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37. Sarah Jarman ARE, Stairs to a Casino, multi-plate etching 38. Nana Shiomi RE, The Sound of Waterfall - Thinker, woodcut 39. Paul Catherall ARE, Red Cranes and City II, linocut 40. Janet Brooke RE, At The End of The Day, screenprint
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NEWLY ELECTED MEMBERS 2015 IAN CHAMBERLAIN ARE
Ian Chamberlain ARE, Fort I, etching
Ian Chamberlain’s work aims to reinterpret manmade structures as monuments placed within the landscape. These structures in turn then become monuments of their time. The prints serve as a visual historical document and record of places that he has visited. Locations recorded in the past have included Goonhilly Earth Station, the Lovell Telescope, Cheshire, Maunsell Sea Forts in the Thames Estuary and the Acoustic Sound Mirrors on the South Kent coast. Chamberlain has a longstanding fascination with technology and architectural forms, these have included structures within industry, agriculture, science and the military. Initial charcoal and graphite studies are made to understand the form and surface of the structures. These are then edited to find the most appropriate pieces to be taken into the etching process, which can take between 1-2 months. 15
SHARON LEE ARE
The nature of the origin of life remains one of the most intriguing questions in biology. In 1953 Stanley L. Miller flipped a switch sending electric current through a chamber containing a combination of methane, ammonia, hydrogen and water. The experiment yielded organic compounds including amino acids, the building blocks of life and composed his theory of the origins of life. Sharon Lee is interested in the notion that we have evolved into beings that can now question, experiment and mirror a chance moment that led to our evolution. ‘Recombining and collaging found printed images and textures with my own hand drawn stone lithographs form the basis for layered and reconstituted images that resemble palimpsests’.
Sharon Lee ARE, Starling I, lithograph & chine-collĂŠ 16
NEWLY ELECTED MEMBERS 2015 FREDERIC MORRIS ARE
Frederic Morris ARE, Fireman, etching
Frederic Morris’ work is a grotesque social commentary born out of continuous observation and visual documentation of the outside world. Images are dictated not only by this observation but also by the artist’s own personal dialogue. Morris ironically glamorises the darker aspects of society using images as a catalyst for feelings of collective anxiety, depicting a world in a state of mental and physical disrepair as a consequence of over indulgence and consumerism. His work advocates a love of image making and is principally drawing-based using a selection of various mediums. 17
RODOLFO ACEVEDO RODRIGUEZ ARE
Rodolfo Acevedo Rodrigues ARE, House of Eros, intaglio
Rodolfo Acevedo Rodriguez is motivated by the idea of craft as an artistic agent and his work seeks to establish a relationship between the author and the medium. The artist’s copper etching process combines traditional techniques with contemporary digital technologies, such as 3D scanning and CNC milling. This practice enables each of the tools used to introduce a level of authorship on an aesthetic level, which ultimately contributes towards the expression of the image. In addition, the themes entailed in Rodriguez’s work make reference to literary sources, such as Greek mythology and his architectural depictions attempt to offer reinterpretations of these ancient ideologies. 18
GALLERY
41. Julia Manning RE, The Gothercatcher’s Nest, etching 42. Jackie Newell RE, Derricks at Battersea, etching 43. Robin Macfarlan RE, Everything Worked Like Clockworth Once, etching 44. Michael Middleton RE, Sand Dunes, etching
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45. John Duffin RE, Thames Bridges East, etching 46. Frans Wesselman RE, Man, Dove, Olive Branch, etching 47. Anne Desmet RA RE, St Pauls Stars, wood engraving 48. Dolores de Sade ARE, Third Labour, etching
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GALLERY
49. Jim Anderson RE, Man of Letters, linocut 50. Terence Greaves RE, Australia Dreaming, woodcut 51. Robert Baggaley RE, Vertigo, monotype 52. Linda Landers RE, Girl with Bouquet of Flowers, monotype 53. Ursula Leach RE, Isolated Barn, carborundum
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54. David Ferry RE, Image 53, digital print 55. Neil Bousfield ARE, Longshore Drifting, wood engraving 56. Glynn Thomas RE, Tour de Cambridge, etching 57. Ros Ford ARE, Garden, Martock, etching & aquatint 58. Kate Dicker RE, Cranes, monoprint
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GALLERY
59. Julia Midgley RE, Seen on Merseyside, etching & aquatint 60. Edwina Ellis RE, Squares BY II, wood engraving & vinyl cut 61. Ann Le Bas RE, Exmoor Beeches, line engraving 62. Neil Pittaway RE, Staging Shakespeare, etching
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63. Veta Gorner ARE, Nature of Light II, photo etching 64. Jane Stobart RE, Work in Progress V, etching & aquatint 65. Sasa Marinkov RE, Black Birds Waiting, woodcut
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GALLERY
66. Toni Martina RE, London Towers, etching 67. Peter S Smith RE, Someone Like You, wood engraving 68. Ian Stephens RE, Danae, wood engraving 69. Louise Hayward RE, On the Samuda Estate, engraving on plastic
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70. Katherine Jones ARE, Brockwell, etching & block-print on paper 71. Fouzia Zafar ARE, Screen Saver II, etching 72. Meg Buick ARE, Dog II, lithograph 73. Catherine Ade, Looking Out, lithograph 74. Anthony Dyson RE, Vincent’s Nightmare, etching & collage 75. H J Jackson RE, Ropes and Baskets, linocut
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ROYAL SOCIETY OF PAINTER-PRINTMAKERS FELLOWS Norman Ackroyd RA RE Hilary Adair RE Emiko Aida RE Victor Ambrus RE Jim Anderson RE Margaret Ashman RE Ted Atkinson RE Robert Baggaley RE Gerald W Baptist RE Dale Devereux Barker RE Mychael Barratt PRE Hon RWS President Jo Barry RE Adrian Bartlett RE Richard Bawden RWS RE James Beale RE Richard Black RE Jeremy Blighton RE Simon Brett RE Penny Brewill RE Harry John Brockway RE Gail Brodholt RE Janet Brooke RE John Dunbar Bryce RE Corinna Button RE David Carpanini PPRE Hon RWS Daphne Casdagli RE Michael Chaplin RWS RE Merlyn Chesterman RE Konstantin Chmutin RE Jeff Clarke RE Paul Croft RE Claire Dalby RWS RE Hilary Daltry RE Louise Davies RE Anthony Dawson RE Diarmuid Delargy RE Anne Desmet RA RE Kate Dicker RE Holly Downing RE Morgan Patrick Doyle RE John Duffin RE Meg Dutton RE Dr Anthony Dyson RE Edwina Ellis RE
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Fernando Feijoo RE Marianne Ferm RE Prof David Ferry RE Vladimir J Filipenko RE
Megan Fishpool RE Peter Ford RE Peter Freeth RA RE Colin Gale RE Carmen Gracia RE Terence Greaves RE Peter Green OBE RE Phil Greenwood RE Michael Griffiths RE John Grigsby RE Brian Hanscomb RE Roger Harris RE Brenda Hartill RE Paul Hawdon RE Louise Hayward RE Jason Hicklin RE Stephen Hoskins RE John Howard RE H J Jackson RE Judith Jaidinger RE Howard Jeffs RE Barry Owen Jones RWS RE Olwen Jones RWS RE Rosamund Jones RE Anne Jope RE Karen Keogh RE Paul Kershaw RE Frank Kiely RE Robert Kipniss RE Anita Klein PPRE Hon RWS Linda Anne Landers RE Martin Langford RE Karolina Larusdottir RWS RE John Lawrence RE Peter Lawrence RE Ann Le Bas RE Ursula Leach RE Angie Lewin RE Jean Lodge RE Julia Manning RE Sasa Marinkov RE Toni Martina RE Robin MacFarlan RE Flora McLachlan RE Sally McLaren RE John McPake RE Michael Middleton ARWS RE
Julia Midgley RE David Mortimer-Jones RE Steven Mumberson RE Pilar Mu単oz del Castillo RE Jackie Newell RE Lars Nyberg RE Chris Orr RA RE Hilary Paynter PPRE Hon RWS Dr Sumi Perera RE Brian Perrin RE Melvyn Petterson RE Neil Pittaway RWS RE Trevor Price VPRE Vice President Simon Redington RE Philip Reeves PPRSW RE RSA Martin Ridgwell RE Jenny Robinson RE Chris Salmon RE Nana Shiomi RE Peter S Smith RE Agathe Sorel RWS RE Jane Stobart RE Andrew Stock RE Sandy Sykes RE Dr Paul Thirkell RE Glynn Thomas RE Tobias Till RE James G Todd RE George Tute RE Ruth Uglow RE Dr Bren Unwin PPRE Sarah Van Niekerk RE Carol Walklin RE Thomas Walsh RE Frans Wesselman RE Jim Westergard RE Annie Williams RWS RE Roy Willingham RE Judy Willoughby RE Joseph Winkelman PPRE Hon RWS Peter Wray RE Giulia Zaniol RE
ASSOCIATES
HONORARY
Neil Bousfield ARE James Boyd-Brent ARE David Brent Smith ARE Jane Brigstock ARE Paul Catherall ARE Ian Chamberlain ARE Alan Cox ARE Dolores de Sade ARE Ros Ford ARE Veta Gorner ARE Weimin He ARE Kevin Holdaway ARE Brian Johnson ARE Katherine Jones ARE Ralph Kiggell ARE Peter Kirkilo ARE Sharon Lee ARE David Lintine ARE Miriam MacGregor ARE Frederic Morris ARE Dawson Murray ARE Rodolfo Acevedo Rodriguez ARE Margaret Sellars ARE David Brent Smith ARE Ann Tout ARE
Mario Avati Hon RE Mark Balakjian Hon RE David Barker Hon RE Elizabeth Blackadder RA Hon RWS Hon RE Peter Blake RWS Hon RE Francis Bowyer PPRWS Hon RE RWS David Case Hon RE Eileen Cooper RA Hon RE Alistair Crawford Hon RE RA Harvey Daniels Hon RE Jennifer Dickson RA Hon RE RA Philip Dowson PPRA Hon RWS Hon RE John Doyle PPRWS Hon RE RWS Brad Fayne Hon RE Michael Fell Hon RE Robin Garton Hon RE Antony Griffiths Hon RE Craig Hartley Hon RE Elizabeth Harvey-Lee Hon RE Martin Hopkinson Hon RE Bill Jacklin RA Hon RE Stanley Jones Hon RE Michael Kauffmann Hon RWS Hon RE Philip King PPRA Hon RWS Hon RE Peter Kosowicz Hon RE Bill Laing Hon RE David Landau Hon RE Alun Leach-Jones Hon RE Ian Lowe Hon RE Leonard McComb RA Hon RWS Hon RE Robert Meyrick Hon RE Ian Mortimer OBE Hon RE Brendan Neiland Hon RE Ana Maria Pacheco Hon RE David Paskett PPRWS Hon RE John Phillips Hon RE Tom Phillips RA Hon RE Thomas Plunkett PRWS Hon RE John Purcell Hon RE Barbara Rae Hon RE Paula Rego Hon RE Deborah Roslund Hon RE Bob Saich Hon RE Colin See-Paynton Hon RE J R Shirreff Hon RE Rosemary Simmons Hon RE Alan Smith Hon RE Richard Sorrell PPRWS Hon RE Claire Tilbury Hon RE Silvie Turner Hon RE Timothy Wilson Hon RE
Meg Buick Student ARE Jude Cowan Montague Student ARE Sarah Jarman Student ARE Fouzia Zafar Student ARE
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Is this the painting holiday you are looking? Enjoy a wonderful combination of relaxation, delicious food, great hospitality, informative and practical art tuition plus entertaining demonstrations from an ever growing number of some the best known, internationaly recognised guest artists and tutors. All our holidays are suitable for every artistic level, from beginners, improvers and advanced. For profesional instruction in pastels, acrylics, oils and watercolours.
Las Orquideas our home which we share with you during your painting holiday. With swimming pool, tennis court and petanque terrain for your use, all meals and airport transfers included, what more do you want from a painting holiday.
www.dalvaro.co.uk
The best way to learn is to learn from the best Especially when in a relaxing environment with like minded people, with excellent food and hospitality. With a combination of plein aire painting and studio work, the oportunity for landscape and townscape painting, you will have the opportunity to practise your art under the guidance of our truly professional tutors.
*Eight day inclusive holidays from April to November * 14 different tutors. *Saturday or Sunday arrival. For more information about our holidays in 2015 Contact: Loli Alvaro email; lolialvaro@telefonica.net
Telephone: 0034 96 2217226
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The largest open access print workshop in the North West. Facilities for etching, screenprinting, relief printing, letterpress and more...
Offering a variety of membership options, and over 50 courses including year-long ‘Complete Printmaker’ and ‘Complete Book Artist’ courses. We also organise Manchester Artists’ Book Fair:
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Facilities and services for screenprinting, intaglio, textile printing, relief printing, offset lithography, letterpress & digital
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Louise Hayward RE, Point Blocks on the Tustin Estate, engraving on plastic
RE ORIGINAL PRINTS 2015 | 8 May - 6 June 2015 Royal Society of Painter-Printmakers Bankside Gallery | 48 Hopton Street | London SE1 9JH www.re-printmakers.com | info@banksidegallery.com | 020 7928 7521