Limited Edition and Open Edition Print Releases
Selected images from a photography archive are made into analogue prints.
During each season a limited edition print will be released and available to purchase.
You can view here in GALLERY below or through GRAFIK I VÄST Gallery, Gothenburg.
P R I N T S H O P The latest release is available to buy here
Browse the GALLERY below to see more prints in the archive. Contact about special orders, all enquiries welcome.
TIME RESPONSES :
The organic process of growing a wide body of work over time - draws on my interest and discovery of new motifs.
Adding to each series at intervals on a cyclical seasonal basis, means my work and ideas never become static.
PRINT PRACTICE :
"I love printmaking for the messy inky state you find yourself leading to the satisfaction of pulling a crisp clean impression pushed into paper. It transforms an image into an unique artefact. What's more is the joy of inking up and doing it over again" Bev Hayes
Print Portfolios
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Underland Series 2019 / 2020
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Web Land Series 2018 / 2020 archive
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Botanical Series 2019 / 2021
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Mid Winter Series 2019 / 2021
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La Gomera, Finca Series 2019
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Göta Älv 2021 / 2022
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Playing with Time Series 2021
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Elements of the Long Season I, II, III ( Pigment Prints )
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Elements of the Long Season IV 2022 ( 20:20 International Print Exchange )
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Elements of the Long Season VI 2023 - Artist Print sent to Etch Ink Art Gallery - Athens Printmaking Center
Fine Art Prints
Latest Print ReleaseS - Print Gallery
Learn Photopolymer Gravure with me at KKV GBG Göteborg -
I am running an introduction and continuation course for SPRING TERM
Places available to book now !
Join the mailing list here...
MORE ABOUT PHOTOPOLYMER INTAGLIO PRINTING AND PHOTOGRAVURE
Traditional Photogravure comes from an old intaglio ´photo-mechanical´ printmaking process and was mainly produced in the specialist printing industry on Rotogravure Press, producing a photographic image on paper.
The Photogravure process draws inspiration from 19th-century photography techniques, particularly Photographic Engraving pioneered by Henry Fox Talbot and further developed by Czech painter Karel Klíč in 1878. Originating from Nicéphore Niépce's Heliography method, it has evolved into today's traditional, Photogravure process. Traditional Photogravure involves creating a textured surface on a copper plate through a complex exposure of a film positive on light-sensitive gelatin, resulting in a permanently etched substrate. This plate, reminiscent of a grainy photographic print, allows for high-detail reproduction. An alternative, the Photopolymer Intaglio method simplifies this process, offering a safer, low-toxic approach. Artists use a contact print transfer onto a pre-prepared substrate of metal coated with photosensitive emulsion. UV light exposure through a positive transparent film facilitates image transfer, followed by development in water and curing for multiple prints. Adapted from commercial planographic printing, it gained popularity in the '80s and has evolved into a safer method for artists over the last two decades. This method, chosen for its safety and environmental consciousness, allowed me to transition from digital captures to hands-on analogue printmaking. My initial exposure to this technique occurred during my time at Art Collage and as a printmaking tutor at the Bluecoat Art Centre, Liverpool. Recently, I revisited this safer alternative during a workshop with Henrik Bœgh in Copenhagen in October 2019. Through experimentation and adaptation, my goal is to advance non-toxic methods for environmental protection and the well-being of fellow printmakers in prints studios practice in.
PROCESS
The Photopolymer Intaglio Prints I produce are individually hand pulled prints on high quality, heavy weight printmaking paper, I mostly use Hahnemühle German Etching. My imagery begins life as a unique digital capture, derived from a series or a theme captured in nature undertaken throughout the seasonal year. After careful digital processing to convert the digital image into greyscale to suit the process, the image is transferred onto a transparent film before being time exposed on a ultraviolet light unit. The transparent positive is tightly sandwiched on top of a light sensitive metal plate ( Toyobo KM 73 ) and between a vacuum bed and piece of glass during a set exposure time. During this contact the image is transfered to plate and is then etched in a water solution, to develop and in grain on the surface before being hardened back on the UV light unit and then ready to print.
PRINTING
I print all my plates by hand in the traditional Intaglio way. Each unique plate is individually hand inked and wiped to sensitively pick up fine photographic details from the delicate etched surface. They are run through a traditional flat bed etching press ( pressed under a heavy steel roller) and sandwiched between dampened etching paper and fine woollen blankets (felts). Each time I print, this method produces a unique set of photographic printed works, sometimes with quite unexpected results. The detail in the tonal values are which I find so particularly interesting with this method of working. My eye and hand intricately work at each stage of the process, to translate its own visual language with a certain subtle characteristic of definition and depth of tone.
ORIGINAL MULTIPLES
Each edition from the same plate can be unique in its own way. This adds to the originality and it is not my intention for every print to be an exact reproduction of the last. That would be mechanically machine produced. The images are inked by hand in rich striking monochrome and sometimes as soft duotones, depending greatly upon what I choose to enhance and resonate through each photographic impression. You could say Original Multiples is a contradiction in terms, but simply put they are a variation on a theme.
I mostly produce works in a series, steadily taken from my own photographic captures, which group together as a ranging PORTFOLIO.
Also in development behind the scenes are experimental amalgamations. I am interested in mixing other forms of printmaking techniques such as copper etching using a safe ground and photopolymer, carborundum for adding textured colour, and playful tetrapack collotypes. These are ongoing experiments I shall continue in the background until I have a method I am happy with - Check back in on Instagram for any updates.
The most recent Limited Edition Print Releases will feature on this page, but more information about my previous photographic works, kept in the archives are available upon request. Please email to peruse this archive list.
PROJECT OFFER
From time to time, I'm open to commissions and opportunities for photographers and artists to produce their works through this alternative photographic process. I tailor make prints to your specific designed project.
Individual Quotes & examples available.
Contact direct to discuss your unique project idea.
