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2015
BIRMINGHAM PRINTMAKERS PRIZE£100 cash prize
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HAWTHORN PRINTMAKER SUPPLIES AWARD
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Purchase prize to the value of the selected print
RK BURT EXHIBITION AWARDA solo show in the RK Burt Gallery
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NATIONAL ORIGINAL PRINT EXHIBITION 2015
When I was young and broke, living in a squat on the site where the London Assembly building now stands, I used to go for long, cheap, urban walks, and often went into the South Bank Centre just to warm up. There wasn’t much to do there then, if you hadn’t bought a ticket to something. It wasn’t the bustling purveyor of sourdough bread and environmentally friendly circus that it is now. But one after-noon in the mid-1980s, there was a little foyer exhibition of lino-cuts by an African artist, John Muafangejo. I absolutely loved them.
The ones I adored were explicitly political, critical of apartheid in Rhodesia and South Africa. They managed to seem simple and sophisticated at the same time. They were very powerful and they were all for sale. Even though I was so skint that I was literally living on pasta with melted butter, I bought the cheapest one for £120. For me, at that time, this was an immense amount, pretty much all I had in the world. I don’t know what came over me, but I’m glad it did.
The print I had achieved ownership of was by no means my favourite, largely because it had no political content. But it was still wonderful, sticky black ink on cheap newsprint paper saying something fundamental about human existence. It was called A Hunter Is Shooting A Spingbok In A Forest. It hangs in my bedroom and is still the fi rst thing I see each day.
Some while later, sitting down to watch the concert calling for Nelson Mandela to be freed, I was thrilled to see huge banners down either side of the stage, featuring my ar-tist’s work. Then, in the Independent’s new Saturday maga-zine, I saw a little piece about the artist behind the banners. He had been dead for a few months, quite young, and it was believed he had been poisoned by political enemies. Much later, I learned that he’d died of a heart attack, and that this had probably been a feverish rumour.
So, I got a lot for my £120, not just the piece of art itself, but the feeling of having become a tiny part of an awesomely huge historical narrative, because the thing that I saw in those
linocuts was genuine and important as well as beautiful and arresting. Muafangejo’s life had been nothing at all like mine, yet we’d made this direct and urgent exchange.
I wish I could say that this particular purchase was the start of an amazing life of shrewd patronage and astounding investment. But that fi rst experience gave me something much less fl ashy than that. It gave me the courage to hunt down the side of the couch when I saw something that I loved, and always to be on the lookout for such things.
I bought a set six screen-prints at a degree show that I adore, even though I’ve forgotten the student’s name, if I ever knew it. I own a piece of printed textile by Henry Moore, the only textile design he ever did. (I think.). I’m the proud possessor of a rejected panel from Terry Frost’s Orchard Tambourine. It wasn’t rejected by me, poor, lonely, lovely thing!
All this means nothing, except that the walls of my home are covered in items that give me pleasure and satisfaction. When I need a little soothing, I just let my eye drift to the sides of the room. I never spend much money. Getting fabulous stuff without spending much money is the great joy of print-hunting.
I was asked to be on the selection panel for this year’s show, because at last year’s I bought a print by Georgia Keeling, which now hangs in my living room. It’s called Suck and appears to depict a red, sightless giant on the cusp of performing oral sex on some black, armadillo-like creature. Frankly, I don’t like to speculate too much, but it always makes me smile.
Anyway, the trained experts who did the selection last year reckoned that I must know something because I bought what was in their eyes the stand-out print of the show. It was very nice, after three decades of print-hunting, for print-making professionals to say: “You might be quite good at this.” Though, thanks to John Muafangejo, it’s what I’ve always told myself anyway.
Muafangejo
Deborah Orr
The National Original Print Exhibition, established by the Royal Society of Painter-Printmakers (RE), is an international open submission exhibition celebrating the best of contemporary printmaking. Now in its second year the show has an exciting and diverse blend of work by emerging young artists and established professional printmakers. The panel of judges, Mychael Barratt, Stanley Jones, Deborah Orr, Ciara Phillips, Trevor Price and Gill Saunders, selected 155 pieces from the thousands of submissions with no criteria or agenda beyond acknowledging those rare pieces that compelled them to enthusiastically raise their hands and say - yes please, let’s have that one! As an art organisation run by artists, the Royal Society of Painter-Printmakers is constantly working to create longer-term opportunities for artists and to promote printmaking to a wider audience.
From top left (clockwise): Sumi Perera, Inside Out-Outside In [IO-OI] XV, etching & collagraph | Alison Bernal, Carceri 9, relief print | Bren Unwin, Field of Experience, 4th State, etched acrylic with intaglio & relief collage | Sophie Layton, Osaka Night Life, photo etching & monotype | Melvyn Evans, Last of the Winter Light, linocut
From top: Christophe Liotard, Tate Modern, London 2013, screenprint | Elizabeth Tomos, CMYK Registrated Ontology, screenprintAde Adesina, Contradiction, etching | Eleanor Havsteen-Franklin, Coalesce, etching & thread
From top left (clockwise): Corinna Button, Folly, collagraph & chine-collé | Debbie Lee, School Leaver, monoprint | David Farrar, Cabinet, silkscreen print | Alice Irwin, Face, etching | Anthony Broad, Tailor, collagraph, chine-collé, digital print & rubber stamp
From top: Gail Brodholt, All the World’s a Stage, linocut | Kumyoung Kwon, La Vita è Dolce, The 108 Passions No 16, monoprint & screenprintAnthony Dyson, Vincent’s Nightmare, etching, aquatint, collage and hand-colouring | Nana Shiomi, Reverse: Universe-Chashitsu, woodcut
Yuch
eng
Ji, H
ow to
Wat
ch th
e Ec
lipse
No
1, m
onot
ype,
etc
hing
From top left (clockwise): Theresa Gadsby-Bourner, Conyer Creek at 10pm, monotype with carborundum Jill Carter, Girl with Offering, collagraph | Grainne Dowling, Still Evening, Kinvara, sugarlift & aquatint
From top left (clockwise): Gail Mallatratt, Gold Frenzy Seized My Soul 3 [detail], woodcut | Jazmin Velasco, After Wallis at St Ives, engraving Gail Mason, Florian, silkscreen monotype | Bronwen Sleigh, Reykanesbraut II, etching | Euphrosyne Andrews, Acanthus, etching with carborundum
Jane Ziemacki, Urban Monkey, mono screenprint
From top left (clockwise): Irene Graham, Neglected, etching & aquatint | Anne Desmet, Potential Gold, wood engraving, glass tesserae with gold leaf Penny Baker, King Edward the Dog, potato print, watercolour & ink | Sara Lee, Copse, Japanese woodcut | Caroline AreskogJones, The Lesson, two colour collagraph
From top left (clockwise): Louise Anderson, E35,000, photo etching | Georgia Keeling, Fish, etching & chine-colléLars Nyberg, Shadow 4, drypoint | Peta Bridle, Blossom Street, Spitalfields, drypoint | Maria Bowers, Cecilia, photo etching
From
top:
Leo
nie
Brad
ley,
Spa
from
Bat
h A
bbey
, woo
d en
grav
ing
| Ian
Cha
mbe
rlai
n, M
irror
I, e
tchi
ng |
Nei
l Bou
sfiel
d, S
easi
de S
teps
, re
lief e
ngra
ving
| Pr
uden
ce A
insl
ie, F
old
I, w
oodc
ut &
arc
hiva
l dig
ital p
rint |
Ros
For
d, L
ido,
Por
tishe
ad, e
tchi
ng &
aqu
atin
t
Sara
h Fr
ance
s, P
aolo
zzi,
scre
enpr
int w
ith li
nocu
t col
lage
From top left (clockwise): Liz Miller, A Classic on Vinyl: Debussy - Clair de Lune - Part 5, etching & printed vinyl record Judy Carpenter, The Boat, etching | John Angus, Portrait A, screenprint | John Duffin, Thames - London, monoprint
From
top:
Roy
Will
ingh
am, B
ianc
o é
Ner
o N
o. 8
- Pi
azza
, dig
ital,
inkj
et |
Beck
y H
augh
ton,
Lak
e, M
ount
ain,
etc
hing
Pa
ul T
hirk
ell,
Ex M
achi
na, p
hoto
etc
hing
, mon
oprin
t, d
rypo
int &
col
lagr
aph
| Jad
e Th
ey, M
oon
Shad
ow, p
hoto
poly
mer
etc
hing
From top left (clockwise): Amanda Rees, Caravan, collagraph | Anita Klein, The Tiny Baby, lithograph Maggie Deignan, Night Feeding, etching | Pamela Holstein, Mole Skins, drypoint, map pins with stamp prints on swing tags
From top: Margaret Ashman, Altered Histories Campania, photo etching | Laura Rosser, We Ain’t All Middle Class Bohemians, woodcut Henna Asikainen, Icarus and Other Fallen Angels, monoprint | Biddy Hudson, The Ark, photopolymer
From top left (clockwise): Louise Davies, Summer Dawn, etching | Karen Keogh, Pachamama - Mother Earth, etching Ursula Leach, Leaftree, carborundum & hand colouring | Astrid McGarrighan, Within and Without, etching & aquatint | John Lynch, Demolition 3, woodcut
Dol
ores
de
Sade
, Sup
er, A
rtis
t’s b
ook,
han
d-co
lour
ed e
tchi
ng w
ith w
ood
cove
r
From
top:
Dav
id F
erry
, The
Her
itage
of L
arge
Scu
lptu
re in
Eng
land
in C
olou
r, ar
tist’s
boo
k, p
hoto
mon
tage
and
text
| Pe
ter L
awre
nce,
Thi
s is
a W
ood
Engr
avin
g, w
ood
engr
avin
g A
ntho
ny L
azor
ko, T
he O
rgan
s, c
olou
r woo
dblo
ck |
Mic
hael
Prit
char
d, C
hilt
on S
tree
t Wor
ks, d
igita
l pig
men
t prin
ts |
Mel
anie
Dav
ies,
Whi
te R
iver
Blu
e Ri
ver,
etch
ing
From top left (clockwise): Kei Imai, Port, screen monotype | Peter Ford, Book Stack, woodcut on handmade paper Sara Clark, Trasitional Structure 3, etching | Meg Buick, Lascaux, lithograph
From top left (clockwise): David Bromley, Kyoto Roundhouse, linocut | Jackie Newell, Blackfriars Bridge Under Construction, etching & aquatintJohn Bryce, Moonlight, Kings Reach, wood engraving | Cora Cummins, Pleasure Park, etching & aquatint
From top left (clockwise): Gwilym Hughes, Richard Dadd + St Margaret of Antioch (After Zurbaran), woodcut Brenda Hartill, Black on White, collaged embossings with in and charcoal | Sharon Baker, Las Palmas, photopolymer intaglio
Johanna Zhang,Turning of the Wheel, etching & aquatint | Brian McKenzie, Scarecrow King, monotype | Diana Ashdown, Walking Off, linocut
From
top:
Nig
el H
umph
reys
, Vi
kker
s re
lief,
dryp
oint
| Sh
aron
Lee
, Obl
ique
Pro
ject
ion
Scap
e, l
ithog
raph
& c
hine
-col
lé
Ross
en D
aska
lov,
See
k A
ssis
tanc
e, e
tchi
ng, d
rypo
int,
eng
ravi
ng &
aqu
atin
t | I
an B
row
n, T
rom
ba M
arin
a II,
etc
hing
& s
cree
nprin
t | D
iarm
uid
Del
argy
, The
Del
uge,
etc
hing
From top left (clockwise): Bob Ballard, Male Gaze 5, drypoint etching, mezzotint & collage | Sally Mclaren, Twilight, carborundum, drypoint & enhanced conte Will Taylor, Jaisalmer Fort, Rajasthan, etching | Pennie Elfick, Mokuhanga with 3D element, mokuhanga Japanese print method
Ruth Dent, Dies Irae I, monoprint, screenprint & linocut
From top left (clockwise): Caroline Whitehead, Sea Sentinel, etching & linocut | Marianne Ferm, Water Falls Through Shadow II, aquatint | Gianluca Craca, Crypto 1, monoprint & graphite Rodolfo Acevedo Rodriguez, The House of Eros, etching | Spike Taylor, Nostalgic Interfaces, MDF blocks with etching ink | Melanie Bellis, Tate Modern Extention, etching
From top left (clockwise): Sarah Jarman, Crystalline, etching | Margaret Sellars, Table-Turning I, etching & monoprint Louise Hayward, On the Thamesmead Estate, engraving on plastic | Stuart Cannell, iPhone Study 1.2, screenprint | Austin Cole, Beijing Hutong 5, etching
From top left (clockwise): Tim Southall, The End, monotype | Eman AlHashemi, Circles and Squares, intaglio relief print | Mariwan Karim, Reflection, double-sided ceramic, screenprint, monoprint, decals & mirror base | Helen Benson, Doge’s Palace from Vaporetto No 3, screenprint | Wuon-Gean Ho, Dance 7752, screenprint monoprint
JUDGES
SELECTED ARTISTS
YUCHENG JI Sharon LeeChristophe LiotardJohn LynchGail MallatrattGail MasonAstrid McGarrighanBrian McKenzieSally MclarenLiz MillerJackie NewellLars NybergSumi PereraMichael PritchardAmanda ReesRodolfo RodriguezLaura RosserMargaret SellarsNana ShiomiBronwen SleighTim SouthallAnna SpradberySpike TaylorWill TaylorJade TheyPaul ThirkellElizabeth TomosBren UnwinJazmin VelascoCaroline WhiteheadRoy WillinghamJohanna ZhangJane Ziemacki Ziemacki
Prudence AinslieEman AlHashemiLouise AndersonEuphrosyne AndrewsJohn AngusCaroline AreskogJonesDiana AshdownMargaret AshmanHenna AsikainenPenny BakerSharon BakerBob BallardMelanie BellisHelen BensonAlison BernalNeil Bousfi eldMaria BowersLeonie BradleyPeta BridleAnthony BroadGail BrodholtDavid BromleyIan BrownJohn BryceMeg BuickCorinna ButtonStuart CannellJudy CarpenterJill CarterIan ChamberlainSara ClarkAustin ColeGianluca CracaCora Cummins
Blaze CyanRossen Daskalov Louise DaviesMelanie DaviesDolores de SadeMaggie DeignanDiarmuid DelargyRuth DentAnne DesmetGrainne DowlingJohn Duffi nAnthony DysonPennie Elfi ckMelvyn EvansDavid FarrarMarianne FermDavid FerryPeter FordRos FordSarah FrancesTheresa Gadsby-BournerIrene GrahamBrenda HartillBecky HaughtonEleanor Havsteen-FranklinLouise HaywardWuon-Gean HoPamela HolsteinBiddy HudsonGwilym HughesNigel HumphreysKei ImaiAlice IrwinBarbara Jackson
Mychael Barratt | President of the Royal Society of Painter-Printmakers
Stanley Jones | Master Printer and founder of the Curwen studio
Deborah Orr | Guardian Newspaper Columnist
Ciara Phillips | Printmaker and 2014 Turner Prize Finalist
Trevor Price | Vice President of the Royal Society of Painter-Printmakers
Gill Saunders | Senior Curator of Prints at the V&A Museum
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