Welcome to the Permanent Print Artists page.
Here you can find information and website details of all the artists who have contributed to the Permanent Print Project.
Lanty is a ceramicist based in the North West of England, having recently completed an MA in Ceramics at UCLan his core practice involves designing and making ceramics. Taking a minimal approach to form, he favours simple thrown or slipcast vessels that act as canvases for his surface designs.
Current investigations involve the interplay between line and form in some way. Taking inspiration from natural forms and surfaces. Within my current collection there are objects which subtly reference the patterns and textures in eroded rock-faces, the spirals and ridges in shells, the ripples in water and forms such as the silhouettes of flowers. I see printmaking as an exciting way to take my drawings from paper onto the ceramic surface while keeping the unique qualities of drawing media.
Renowned international artist Ruth joined the research team for the 2nd symposium leading a workshop using vitreous metal and ceramic enamels. She explored the overlap that enamel printmaking techniques might bring to non-traditional materials. The extent of her practice spans contemporary jewellery, fine silverware and unique artworks for public or private display. Observation of colour and light in everyday environments sustains her modern design style. Moreover her art based, painterly approach to enamelling underpins the elegant sense of beauty in her work. Today the conception of one off pieces and limited edition ranges are her prime focus.
Rudi became a research partner to the Permanent Print project in 2013 through the Erasmus international research fund. Together with his colleague Erik Kok he has contributed significantly to the project expanding ideas and material investigations in Holland with his own students. Rudi studied mixed media, photography, and printmaking from 1974 to 1980 at the AKI Academy of Fine Arts in Enschede, the Netherlands, where he is now the head of the silkscreen department. He exhibits his works regularly in the Netherlands and abroad.
A printmaker & fine artist. Robin has experience in plaster casting using the waste mould method & various types of printing developed during his membership with Artlab contemporary print studios. Current investigations into methods of sculpture using cement with different additives & glazes have given results more akin to a natural stone but which give a refined result far removed from simple cement & concrete.
I am interested in seeing how the refractory concrete will react with various liquids applied to the surface & in identifying which ones do not reduce its strength during firing. I would like to apply materials which would breakdown during firing though not necessarily combust whilst drawing into the material before firing.
Art, Archaeology and Heritage are Aoife’s passions. Through her work Aoife combines techniques such as etching, relief and monoprint with 3D installations challenging and pushing the boundaries of traditional print. Creative projects which include outdoor print installations and site specific work explore experimental ways of combining print with object making.
Recent investigations focus on an exploration of isolated shelters and temporary structures as well as being led through traditional print processes in which to explore new tactile surfaces to print on and develop more experimental ways of creating pieces that break away from the boundary of the flat page.
David is a co-host, colleague, professor in Silicate Research Unit at UCLan and co-founder of ALUSID. His work is rooted in materials and involvement in the making process. Challenging and striving for new aesthetic qualities through the researching of new techniques and alternative uses of materials, including developing a process of kiln casting ceramic aggregates and glass forming materials (a process more commonly associated with glass making).
Recently he has started introducing recycled glass and mineral waste, as a substitute for virgin raw materials. Exploring how he might combine earlier clay pieces with the kiln cast glass; examining how the materials might be fused together in order to create contrast within single piece.
Exploring unknown processes, incorporating existing experiences in print, and the occasion of collaboration, The Permanent Print project offered a remarkable opportunity to enhance my practice. Drawn to working with materials, creating tangible objects and sculptural elements, Charlotte’s creative approach to practice along with investigations into 3D forms inform a consideration to the possibilities of fabricating objects and experimental mark making.
Alasdair is a co-host, colleague, postdoctoral researcher in Silicate Research Unit at UCLan and co-founder of ALUSID. ALUSID are a spin out company from the University of Central Lancashire. The company was born from a research project led by Professor David Binns and Dr Alasdair Bremner that was originally funded by the Arts and Humanities Research Council (AHRC).
Alasdair’s practice has focused on developing a method of working with castable refractory concrete to create large format architectural ceramics. His approach to practice led research and collaborative investigation has been a fundamental driving force in the Permanent Print project.
Stuart’s project for permanent print focused on, ‘examining the manipulation of the digital image through the use of printmaking, resin and collage.’ Through this investigation Stuart’s work explored how digital images can be used through a variety of printmaking processes and other post-digital processes, such as laser cutting and CNC machines. He also attempted to find an appropriate combination between the use of collage and resin considering how best to apply a form to an image. The idea of how material and print can work together was a key interest as well as how the material itself can change the viewer’s perception of what the image is and what it represents.
Working with installations, site interventions, drawings, maps and walking, Rebecca’s practice is underpinned by research into the protection of the environment, conversations with scientists and a desire to make work specific to chosen locations.
I consider drawing and works on paper to be a major part of my practice and the Permanent Print project provides the opportunity for developing the idea of making some of these more graphic works into permanent pieces suitable for display outdoors.
Working predominantly with pattern. Bonnie has developed a way of working that applies pattern to different sites and situations, resulting in site-specific pattern designs displayed as installations. The patterns respond to the history, function, audience and location of the place they are designed for; a process that promotes pattern from being ‘merely’ decoration – an afterthought – to being the design or artwork itself – a carefully considered and crafted piece, specific to its situation and context. Process is a key element of my work. I create rules and systems for the components in my designs, and then experiment with breaking these rules – testing the boundaries between strict, ordered designs and random, unexpected ones. Documenting this process, and the final set-up of my work, produces photos and videos that give context to the final piece and enable me to distribute my work online and in print.
Gill’s practice has explored experimenting with transferring collagraphs to ceramic plates using lasertran, working in across many traditional methods of print including, etching, photo etching, wood & lino cut & screen printing, sometimes combining multiple methods.
Tina’s practice is concerned with offering a series of observations, opinions and judgements on our social behaviour, born from the desire to unite what appear to be moderately insignificant images and text to form potentially significant narratives that could be viewed as fragments of a story. Predominantly throughout her research she uses words, drawing and collage to transmit opinions whilst creating a swaying sense of understanding and ambiguity where the viewer is encouraged to decide on their own narrative should they wish. More recent pieces have a stronger almost poetic use of found words which focus on experimenting with moving from 2D to 3D and employing the use of light. Permanent Print offers the possibilities of expanding this current knowledge and exploring new techniques.
Sarah’s work is inspired by the natural world, and has recently focused on both the cosmos and the sea; she is inspired by relationships with the remote and inaccessible. Sarah is fascinated by phenomena which appear on the surface to be constant and uniform but on further inspection reveal themselves to be unique, constantly in flux and ever changing. She is influenced by forms and light invisible to the naked eye. Sarah’s practice aims to embed the humanly experienced physical world into the unimaginable enormity of the cosmos. It shares the central aims of science in trying to make sense of the natural world, but focuses on an emotional and embodied response rather than just an intellectual one
David’s current practice includes the use of slabs, coiling and carving – mainly using Scarva porcelain paper clay to make figures and decorative vessels. I love creating a play of light, a look of age or erosion, or something otherworldly. Inspirations underpinning his research include geology and archaeology.
Hannah’s practice explores as many processes as possible and combine these through print, artists books and paper sculpture. Experience of casting and paper making combine traditional with innovation to push process in combination with mark-making in order to forward personal practice as well as to transfer knowledge.
Permanent Print provides the opportunity for using unconventional and industrial materials, and to explore these in a process based method of making. Within a practice of mostly abstract work, representation extends so far as to reflect on contrasts, collage of fields, and juxtapositions in (the most part) the city environment. To emulate this – a spontaneous and unplanned composition – focus on collating many different mediums and processes; each one intensifying the other, simply by aligning, overlapping and negating. The print symposium provides a platform to explore these industrial textures and materials, and poses new questions about experimentation and material research within a fine art practice.
Co-founder of Artlab Contemporary Print studios and the Permanent Print project, Tracy is a visual artist living and working in the North West of England.
Hill’s cross-disciplinary practice examines how the conventional applications of printmaking can be combined with acrylic, digital and technological developments to produce new ways of challenging the tradition language of print.
Through her work Hill explores the transitory and geographic properties of landscape and our relationship to place. Hill exhibits Nationally and Internationally with printed works held in several permenant collections.
Recent practice is based on a desire to realise a specific of point of view. To provide a sensitive environment, both in the image space and through different media. Initially, this is done through photography which allows freedom and immediacy in my critical thinking. Responding directly to a will to select the photographic imagery visually composes a vocabulary of the every day.
Staying in the two dimensional space Julia’s work explores the reflective surface by printing on mirrors and glass. In parallel to that research Julia investigated céramique introducing the research to the three dimensional space.
Julia’s current work evolves around the search of the limits of printmaking and how it connect on a more interactive level with the spectator. How can print become a experience not only through the eyes, but throughout the whole body? The Print Symposium research project shares this same philosophy to explore print further and in a different ways.
Erik became a research partner to the Permanent Print project in 2013 through the Erasmus international research fund. Together with his colleague Rudi Bastiaans he has contributed significantly to the project expanding ideas and material investigations in Holland with his own students.
Erik studied ceramics and graphics art and regularly exhibits his work, both in the Netherlands and Internationally as well as working as a ceramics instructor at AKI/ArtEZ.
Erik’s practice exemplifies his emotions concerning nourishment, love and dreams, but also angst, drenching, death. This is shaped in allegoric images, searching for a sense of balance, in which beauty and the thematic expression of meaning are not in opposition, but instead mutually reinforce each other.
Anthony’s work explores the challenge of making work in response to locations, for example at Minster Lovell Hall near Witney, St Mary Magdalene Church in Woodstock and the SJE Arts Centre Chapel in Oxford. Here Tony worked in partnership with English Heritage to install a major show at Minster Lovell Hall which included a spiral staircase where the worn away parts of the steps were cast in plaster and recreated in their original orientation. For the past two years he has been producing work based on the theme: ‘Portraying, remembering and celebrating the forgotten lives of craftsmen.’ Works produced are inspired by glove makers, printers, metalworkers, papermakers and cobblers.
Alex joined the research team for the 1st Permanent Print symposium. His knowledge and expertise invaluable during the 4 day practice based investigations. Alex’s practice is heavily printmaking based exploring the manner in which traditional and non traditional process changes our interpretation of image.
His current work investigates layering, fragmentation and abstracting of imagery to create dense ambiguous spaces that entices the viewers view.
Multi-disciplinary artist and MA alumni of UCLan, Martha has been using print as part of her practice for 20 years. Her diverse knowledge and practice investigates the potential of print as part of a wider exploration of materials and form pushing traditional print skills and combining them with ideas around 2D and 3D forms. By exploring print on refractory concrete, clay, glass and metal during the symposium she has challenged non-traditional materials to respond to the aesthetic of the hand printed aesthetic. Martha is now practicing in the USA where she continues to develop her ideas and exhibit her unique cross-disciplinary works.
With a background in Ceramics and graphic design Sanver has focused his teaching and research on developing a method of combining both disciplines. His hand shaped ceramic sculptures and digital images combine to create unique ceramic surfaces. Various methods of image creation are used including producing images on computer for application on decal paper by digital ceramic printers as well as using traditional printing techniques like screenprinting, lithography and relief.
Through combinations of these print techniques and the hand drawn element using ceramic pencils and chalks Sanver pushes the traditions of traditional ceramics and its relationship to print as a surface.
Furthermore, through his design of 3d ceramic forms using CAD software Sanver has been trying to combine 3d printing technologies with printed surfaces with a plan to combine my hand shaped ceramics and printer shaped ceramics.
Kathryn joined the research team from the beginning of the Permanent Print project. Her contribution to the organising of and expertise and dissemination of traditional processes during the symposiums was invaluable. As a printmaker and book artist Kathryn specialises in pointillist drawings of the natural world. Past works inspired from zoological and botanical specimens encountered through either drawings, lithography and artists books.
Over the course of studying MA Multi-disciplinary printmaking course at the University of the West of England, Petra has been drawn by “process” and how the unique properties of different materials open up new and original directions within her work.
Through experimentation with manufacturing personal oil-based and screen-print inks from foraged red ochre collected from an abandoned red ochre mine she has also explored non-traditional materials such as paper-clay, acrylic, and steel, as potential printing mediums.
Attracted by the possibilities of three-dimensional form Petra has explored the strength that these materials offer when subjected to the intense pressure of intaglio, as well as its receptivity to screen-print and lino-cut using under-glaze oxides and plate-oil.
By exploiting characteristics of materials and transient states of form Petra transfers images directly on the surfaces combining print and ceramics to create form.
Lecturer at Wirral Metropolitan College and multi-disciplinary artist, Michelle has extensive experience in a full range of printmaking processes across intaglio, relief and screenprinting and digital editing skills. Michelle’s practice as book artist has enabled an exploration of printmaking in relation to three-dimensional objects, where a book form creates a space or environment in which printed images can operate differently than on a flat sheet. The emergence of sequences and linkages, the building with modular elements and repetition is a natural by-product of print production and book design. It is this potential for constructions to ‘carry’ the image, which is the focus of much of Michelle’s work. Experiments in ceramics as an alternative sculptural media has led to explorations using slips and oxides to transfer relief surfaces. Through the symposium she hopes to bring together these elements of her practice in order to push the boundaries of the artist book and a more sculptural approach to print.
Working with combinations of intaglio, relief and screen-printing Monica’s research is underpinned by a passion and drive for exploring, inventing and looking for new ways of using different processes. Experimentations involving exploration of printing from paper clay plates onto paper using both relief and intaglio methods led to unique methods of transferring images. Monica’s current practice is based around experiencing the print rather than looking at it as a viewer. The element of surprise and not knowing the exact outcome is what motivates new work, driven by process. Monica’s work explores print with a playful curiosity, flexibility and open mind.
Inspired by nostalgia – mainly British history and the narrative behind the people and places. Alice’s work has always been inspired by the past and ideas around the sentimental and nostalgic memorabilia. With a particular interest in the 1930’s and 40’s her ceramic work investigates the ambiguity of old, hand written documents as well as photographs and postcards belonging to family archives.
Whilst studying, the nostalgic aesthetic lent itself to the use of digital decal transfers, mainly based upon paper ephemera from my family collections. By exploring these basic methods of print on slip-cast ceramic surfaces, as well as glass and enamelled metal surfaces Alice pushes the traditional skills of ceramics combining them with new approaches to mark making.
Originally trained as a printmaker, Paula is a multi-disciplinary artist engaged in sustained practice led research combining digital and analogue techniques. Commedia Dell’Arte and performance have been hugely influential on her practice in the last few years where she combines performance with interests in historical arte-facts.
Paula is interested in collaborating technically and/or conceptually to test and research the potential development of product based outcomes, researching and investigating innovative surfaces in two or three dimensions to exploit the potential for interdisciplinary collaboration.
Co-founder of Artlab Contemporary Print studios and co-host of Permanent Print Magda is a multi-disciplinary artist who’s practice is primarily concerned with the evocative and immersive qualities of sound. Magda is interested in how soundscape orients us and subconsciously embeds itself in our memories of place, enabling us to construct personal recollections and, moreover, it offers the possibility of conveying narrative to listeners who have never experienced a location. Works often encounter sound, moving image and print, connecting traditional printmaking processes with new technologies such as digital audio.
The beauty of the natural world is the main inspiration behind Katie’s current works. With a particular love of birds, sight and song evoke strong memories and connection to place.
Working from quick sketches, using paint and collage to build layers and add texture and detail, Katie uses clay as her medium of choice. The tactile nature of the material and its infinite possibilities work in collaboration with hand-drawn images to create ceramic pieces, which resonate with history and folklore.