International Original Print Exhibition 2021

banksidegallery

Catalogue of the exhibition showcasing over 140 works in printmaking selected from the competition entries.

2021

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Contemporary Arts Trust

£1000 Prize

Hawthorn Printmaker Supplies Award

Ironbridge Fine Arts Printmaker Prize

Jackson’s Art Supplies Award

Hole Editions Publishing Award

John Purcell Paper Award

EXHIBITION PRIZES

Badger Press Studio Award

East London Printmakers Prize

Hot Bed Press Award

Intaglio Printmaker Prize

Printmaking Today Award

Regional Print Centre Award

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Royal Society of

Painter-Printmakers Prize

Society of Wood Engravers Prize

Thames-Side Print Studio Prize

London’s Premier Printmaking

Competition

The International Original Print

Exhibition, established by the Royal

Society of Painter-Printmakers (RE), is an

open submission exhibition celebrating

the best of contemporary printmaking.

EXHIBITION DATES

4 - 14 November 2021

INTERNATIONAL ORIGINAL PRINT EXHIBITION 2021

Woolwich Contemporary Print

Fair Award

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FOREWORD DAVID FERRY RE PRESIDENT

IOPE 2021

International; An adjective meaning ‘between nations’.

Rebranding; A term used in the board rooms of the international advertising world

usually for a fresh look at existing ‘stuff’.

Printmaking is by its very nature ‘international’. Print artists are the chief executives

and the designers of an historic and contemporary product that constantly

personifies the changing world around us.

The RE thought to activate these terms for a simple ‘rebranding’ of the former

NOPE to IOPE. National to International in the change of a single letter form.

Thank you to our guest selectors, whom as ‘consumers of all things print’, chose

works that delighted and activated their taste and promotion. That’s what any of us

do when we decide which ‘brand’ better suits our personal and emotional needs at

the time.

Of course times fluctuate, present different perspectives, attitudes, and sometimes

problems.

My final acknowledgements go to our sponsors and prize givers who have continued

to support the RE and the Bankside Gallery, throughout COVID uncertainty.

Professor David Ferry RE

President, Royal Society of Painter-Printmakers

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Ginger Gibbons

(Animator, Producer & Director)

Deborah Roslund Hon RE

(Collector & Trustee of Paintings in Hospitals)

Sue Timney

(Designer)

Prof David Ferry

(RE President)

Michelle Griffiths

(RE Vice President)

EXHIBITION SELECTORS

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Nana Shiomi,

Home for Runaway Girls -

Clubs are the Desire for Knowledge,

woodcut

Qixuan Wu,

A Heart from Firenze Presented to the Tin Man,

digital print

Martin Grover, It’s Not Dark Yet But It’s Getting There, hand-stencilled screenprint

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Gerry Baptist, Guardian Protecting the Polar Caps, digital print with laser-cut acrylic head

Richenda Court, Glass Town, animation

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Justin Diggle, A Whale from the Great Salt Lake, Utah,

etching and photo etching

Rod Nelson

Study in Spray

woodblock print

Ruth Uglow, Yinchuan 2, etching & aquatint

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Sioban Piercy, Small Impatient Object

artist’s book, archival inkjet print on waxed Japanese Kozo paper

Elizabeth Fraser, Cachalot, handset letterpress

Alison Bernal, Folded 3, relief / emboss

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Austin Cole, Beijing Hutong 3, etching with aquatint

Diane Dawson, Keeping Edgy, silkscreen

Daniel Howden, RCA, reduction linocut

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Susie Perring, Red Nasturtiums, aquatint etching

Ali Yanya, Untitled 1, mezzotint

Stephen Lawlor, Kawako, etching

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Anaïs Charras, Peine Perdue, drypoint on copper, chine collé

Hyejeong Kwon, Never Ending Story, etching

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Dan Obana,

Look Forward to

the Hopeful Future,

digital print and

hand painting on

Japanese paper

Brendan Hansbro

Blind at Old Street

Station, London

copperplate engraving

Alan Kitching

Rust and Rotten

letterpress

Margaret Sellars,

Guggenheim Interior 9,

etching & monoprint

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Gokcen M Kilinc, Miracle 2,

computer generated design (CGD)

Fiona White, Relic 2, screenprint

Philip Naylor, Stagecraft, monotype

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INTAGLIO

An imprint produced by a method in which ink is rubbed into the grooves of a design

made in a (usually metal or collaged) printing plate. Printing is carried out, often on damp

paper, using an etching press to force the damp paper into the inked grooves of the plate

to pick up the impression.

Etching: print produced from a smooth metal plate, the surface of which the artist covers

with an acid-resistant ground. The artist then draws a composition into that ground with

a fine etching needle or other tools – the marks made scrape away the acid-resistant

ground to reveal the bare metal. The plate is then immersed in a tray of acid. Wherever the

ground has been scratched away, the acid bites grooves into the exposed metal. When the

etching process is complete, the plate is removed from the acid tray and washed clean of

acid.

If printing intaglio (the traditional method for printing etchings though, occasionally, they

are relief printed) the artist rubs a thin layer of printing ink into the etched grooves of the

plate. They then place a sheet of damp paper, face down, onto the inked plate, and take

a printed impression using an etching press to exert the high, rolling pressure needed to

force the damp paper into the plate’s etched grooves, picking up the wet ink and

transferring image to paper.

PRINTMAKING TERMS

Engraving: print produced by cutting into a (traditionally) metal plate with sharp tools

rather than using acid to eat away the image. Engravings are printed intaglio by the same

means as etchings, mezzotints, drypoints, etc

Drypoint: an intaglio print produced from a smooth plate (often copper), into the surface

of which the artist scratches a design using a sharp metal needle. No acid is used in this

process. When the image is complete, the artist rubs a thin layer of printing ink into the

scratched grooves of the plate. They then place a sheet of damp paper, face down, onto

the inked plate, and takes a printed impression using a press to exert the high rolling

pressure needed to force the damp paper into the grooves, picking up the wet ink and

transferring image to paper. The needle raises a fine burr of metal at either side of each

groove and this prints with a characteristic ‘furry’ line.

Aquatint: an intaglio print with effects resembling watercolour washes, produced from a

copper plate upon which particles of resin ground are laid, melted to adhere as miniscule

spots of acid resistance, designs masked out with varnish, and etched with acid.

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Mezzotint: intaglio process in which a complex textured surface is laboriously created on

a metal plate using a multiple-toothed rocker tool. The pitted surface the rocker creates

holds ink and prints as a rich, dense, velvety black. Having created this texture on the

plate, the artist then uses metal scrapers and burnishers to flatten out selected areas of

the plate. In this way, developing an image from dark to light, tones are manipulated which

effectively create a sense of a drawing in light, looming out of darkness, as the ink cannot

be held on a polished surface.

RELIEF

An impression produced by applying ink to the surface of a printing plate. The block’s

uncut surface is the area which is inked and printed; cut (or indented) areas show as the

paper colour.

Linocut: print produced from a linoleum block, onto the surface of which the artist draws

then cuts an image using fine steel gouges. The areas of the block to be inked and printed

are left uncut (in relief) while the areas of the design not intended to take the printing ink

are cut away. When the cutting is complete, the block is inked and printed either by hand

or foot pressure or by printing in a relief (platen) printing press.

PRINTMAKING TERMS

Woodcut: An image is drawn onto a block of side-grain wood (plank). The artist then cuts

away areas of the block that they do not want to take ink leaving, in relief, the intended

image. Ink is then dabbed or rolled onto the block’s remaining uncut parts and the inked

block is pressed onto paper. Printing can be done in a press or by hand or foot pressure,

or by using hand-held burnishing implements such as a simple wooden spoon or a

Japanese printing baren. The printed result is a mirror image of the design on the block.

Tools used are usually steel gouges (U- or V-shaped cutting edges) or specialist cutting

knives.

Wood engraving: a relief print produced from a block of end-grain wood (traditionally a

very slow-growing wood such as boxwood), into the surface of which the artist engraves

a design, using fine, steel, cutting tools.When the cutting is complete, the artist applies

a thin layer of printing ink. They then place a sheet of smooth paper, face down, onto the

inked block, and takes a printed impression either by hand-rubbing the back of the paper

with a spoon, or by using a platen press. The technique differs from woodcut/woodblock

methods both in the tools used and in the fact that the printing matrix is end-grain rather

than long-grain wood and thus, unlike in woodcut/woodblock prints, the wood grain

is not a characteristic of the print.

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Collagraph: print made from a collage block. Collagraph plates are often made from thick

card but MDF, Perspex and metal are also used onto which found materials are glued

and modelling pastes and powders, sand and grit can also be applied to create textures

capable of holding printing ink.

OTHER TYPES OF PRINTMAKING

Lithography: a printing process which relies on the antipathy of grease and water. The

image is drawn onto a limestone block or special metal plate, using a greasy crayon or ink

(tusche). The greasy image is chemically fixed to the stone/plate allowing the colour of

the crayon/ink to be washed off the stone/plate before printing commences. The stone/

plate is then dampened with water and rolled with oil-based ink. The oily ink adheres to

the grease of the image areas and is repelled by the water in the non-image areas of the

stone/plate. Under the pressure of a special press, the image is printed onto paper. Each

colour requires a separate stone/plate and a separate print run.

There are also photographic litho processes.

PRINTMAKING TERMS

Screenprinting / serigraphy / silkscreen: printing using a frame covered in a fine taut

mesh through which ink is forced onto paper (or other material) beneath. Areas of the

screen are masked off using handmade/hand-drawn or photographic stencils to define

an image. Ink is dragged over the stencil on the mesh using a long rubber blade called a

squeegee. The squeegee forces an even distribution of ink to pass through the open areas

of the stencil and onto the paper/other material.

Monoprint: an impression printed from a reprintable block, such as a lino block or etching

plate, but printed in such a way that only one of its kind exists, e.g. a printed image

incorporating unique hand colouring or collage or monotype.

Monotype: one-off print, a unique impression printed off card, glass, perspex, metal or any

other flat surface; it cannot be repeated in identical form as it is not made from a block or

other semi-permanent printing matrix.

Digital print: any print produced on a computer. An artist’s digital print is not a reproduction

but a limited edition work of art that does not exist in any other form. Artists create the

image using computer software or, more often, they scan in a drawing, photograph,

painting or traditionally generated print, then manipulate the image on a computer screen

to create an entirely new image which is then printed using a computer printer of some

sort. Prints initially created digitally can also be printed as etchings, lithographs,

screenprints etc using photographic processes.

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Raphael Appignanesi

Margaret Ashman

Theadora Ballantyne-Way

Gerry Baptist

Mychael Barratt

Ruth Barrett-Danes

Melanie Bellis

Alison Bernal

Beata Bialek

Heidi Borg

Lorraine Botbol

James Boyd Brent

Leonie Bradley

Julia Brett

Gail Brodholt

Alexandra Buckle

Mariela Canchari (Maca’n)

Antony Carlton

Anaïs Charras

Sue Clegg

Austin Cole

Richenda Court

Sarah Crossfield

Robert Cunnew

Louise Davies

Diane Dawson

Margaret DeKoven

Anne Desmet RA

Martina Di Gennaro

Justin Diggle

Jennifer Dranttel

John Duffin

Gordon Ellis-Brown

Tabitha Fedden

Catherine Ferguson

Marianne Ferm

Wayne Foskett

Elizabeth Fraser

Anthony Frost

Filip Gabrhelik

Admir Ganić

Chris Gilbert

Codomo Giura

Rachel Gracey

Kathryn Graham

Altea Grau Vidal

Mark Graver

Terence Gravett

Martin Grover

Dorothy Hanna

Brendan Hansbro

Anna Harley

Chloe Harris

Víctor Manuel Hernández Castillo

Lorena Herrero

Wuon-Gean Ho

Kayleigh Holden

Daniel Howden

Martin Ireland

Vanessa Jackson RA

INTERNATIONAL ORIGINAL PRINT EXHIBITION 2021 ARTISTS

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Dick Jewell

Constance Johnson

Timothy Emlyn Jones

Jean-François Jullien

Frances Kiernan

Gokcen M Kilinc

Marina Kim

Alan Kitching

Anita Klein

Eliska Kovacikova

Noah Kulman

Hyejeong Kwon

Martin Langford

Stephen Lawlor

Ursula Leach

Antony Lee

Sharon Lee

Elizabeth Lloyd

Barry Lockwood

Caroline Macey

Margaret Mallows

Sonia Martin

Robert Matthew

Stephen Menon

Julia Midgley

Kim Minuti

Martin Mitchell

Stephen Mumberson

Philip Naylor

Rod Nelson

Lars Nyberg

Dan Obana

Lesley O’Neill

John Pedder

Sumi Perera

Susie Perring

Brian Phillip

Sioban Piercy

Trevor Price

Kitty Reford

Stefan Reiss

Ley Roberts

Sue Roe

Samantha Rudd

Chris Salmon

Lucy May Schofield

Margaret Sellars

Nana Shiomi

Paul Thirkell

Francis Tinsley

Ruth Uglow

Bren Unwin

Heather Upton

Annie Wasdell

Fiona White

Roy Willingham

Wai Wong

Roger Woodiwiss

Qixuan Wu

Ali Yanya

INTERNATIONAL ORIGINAL PRINT EXHIBITION 2021 ARTISTS

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SPONSORED BY

The Royal Society of Painter-Printmakers (RE),

established in 1880, is one of the world’s leading

organisations representing the work and interests

of printmakers.

As an art organisation run by artists, the RE

is constantly working to create longer-term

opportunities for artists and to promote original

printmaking to a wider audience

Image: Dick Jewell, One Blood, digital inkjet print, edition of 30

BANKSIDE GALLERY

48 Hopton Street, London SE1 9JH 0207 928 7521

info@re-printmakers.com www.re-printmakers.com

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