2015

BIRMINGHAM PRINTMAKERS PRIZE£100 cash prize

GREAT ART PRIZE Art materials vouchers to the value of £250

HAWTHORN PRINTMAKER SUPPLIES AWARD

Materials to the value of £150

BADGER PRESS AWARDStudio access to the value of £120

INTAGLIO PRINTMAKER PRIZEMaterials to the value of £150

THE REGIONAL PRINT CENTRE WREXHAM AWARD

One year’s membership to include free open studio access and two complimentary tickets

to the annual Print Symposium

JOHN PURCELL PAPER AWARD£150 worth of paper

HOT BED PRESS BURSARYA six month’s residency including unlimited access to studio facilities, technical support,

one course place, materials stipend - prize value £500

PRINTMAKING TODAY PRIZEAn editorial feature in the magazine

ARTS CLUB CHARITABLE TRUST AWARD£1000 cash prize

EXHIBITION PRIZES

GALLERIES MAGAZINE PRIZE Full page colour advert

EAST LONDON PRINTMAKERS PRIZEOne year’s full membership plus ten free

open access sessions

DEBORAH ROSLUND HON RE PURCHASE PRIZE

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

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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

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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

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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

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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:

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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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