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Blueprint @ Glasgow Print Studio

I will be showing new work at Glasgow Print Studio in February.

Initially conceived as an exploration of the links between alternative photographic processes and fine art photographic printmaking (printing with ink), Blueprint has grown in scope to encompass seven exhibitions, organized visits to five important archives, a programme of lectures and tie-ins with various engineering organizations.

Cell 16 is part of a series of works exploring the depth from the picture plane created by the photographic image  in comparison to the richly textured planes of abstract colour printed from etched steel plates.  This combination of digitally-printed photographs and traditional etching show very clearly the intermedial possibilities available in contemporary printmaking.

Low Sun and Man on Chair are shown here for the first time.  They are archival pigment inkjet prints, the first I have printed on Canson Photographic Digital paper I received as an award from the Krakow International Print Triennial.  I use the representation of the human form, rather than a metaphor for the figure, here.  The photographic quality is essential to my play with ‘realism’ in these images.

Krakow International Print Triennial 2012: the opening!

The main exhibition of the Triennial opened on Friday 14th September in the Bunkier Sztuki Gallery of Contemporary Art in Krakow.  Other exhibitions are in the main Museum of Krakow, the International Cultural Centre and the Palace of Art.  During 2013, parts of the main exhibition will travel to Istanbul, Falun and Vienna.

All kinds of graphic art were evident, digital images now one with the more traditional media of etching, lithography and screenprint.  The opening event was crowded with people wanting to see the cornucopia of images.

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I wanted to explore the photograph as a window into another world in this series of images.

Archival inkjet prints of photographs are over-printed with very deep, rough textures: these are printed from steel plates deeply etched with cross-hatched lines and rough aquatints.  The surfaces block your view of the ‘scene’ beyond them and create a distance between the space of the spectator and that of the subject. They bring attention to the framing of the image by the camera – to the kind of selection of subject matter made by the photographer.

Krakow International Print Triennial

The Krakow International Print Triennial opens in September.

Three of my works will be exhibited there and in the following touring exhibitions in Vienna and Istanbul.  I’m very happy to say that Walking has won the Canson Polska Ltd Award, worth 5000pln.  It is the first state proof of an image I want to develop. The contrast should be greater. The scale also is not sufficient for the space here and, for practicality I varnished it and hung it unglazed. I hope to develop a better system of presentation for it.

Walking, archival inkjet print on Somerset Satin, 98 x 148cm

Dusk Man

Dusk Man is the name of an image that I have created a number of times in different scales and different media.  It was initially a small model on my studio window sill in UMass, Amherst.  I photographed it as the sky turned pink in the evening. The colour was amplified by the vast expanse of snow outside.  The image is symmetrical and parallel to the picture plane. A screen exists between the picture plane and the figure that has been folded horizontally and vertically.  This first image of Dusk Man is an intaglio printed by hand from two photopolymer plates.  It is a contemporary technique that mimics photogravure, one of the earliest forms of photography.  Photography has always been used to record people.  I want to create a suggestion of something real but, at the same time, to produce an ambiguity that causes the spectator to work: to wonder what kind of reality they are looking at.