This lovely little machine is a Hopkinson & Cope Albion made in 1859 which I use to make many of my prints.
It lives in my tiny studio at home in East London where I can get distracted by looking out onto the garden and watching squirrels sitting on the wall eating pizza.
AWARDS & COMMISSIONS
2017 Print commission for The Poetry Society
2017 Redesigning The Medieval Book competition, Bodleian Library, Oxford - runner up prize
2016 Flourish Printmaking Prize - 2nd prize
2011 Print Quarterly Prize, RE Annual Exhibition
2010 Intaglio Printmaker Prize, RE Annual Exhibition
2008 Aberystwyth University Purchase Prize, RE Annual Exhibition
2008 RE Prize, ‘Originals’ Exhibition
Fitzwilliam Museum (with RE portfolio)
Bodleian Libraries Rare Books collection
Victoria & Albert Museum Print Collection (with PmC portfolio x2)
Scarborough PMC Print Archive
RE Diploma Collection held at Ashmolean, Oxford
Aberystwyth University Print Collection
Printmaking Today (Winter 2017)
Printmaking Today (Autumn 2017)
Jerwood Drawing Prize Catalogue (September 2015)
Print Quarterly (June 2011)
Spanning The Thames - Artists’ Choice Editions
Drawing Matters (Draw) – A & C Black
Printmaking Today (Summer 2006)
Monoprinting – A & C Black
Printmaking Today (Autumn 2003)
An Engravers Globe - Primrose Hill Press
Printmaking Today (Summer 2002)
Printmaking Without a Press – A & C Black
FBA National Print Exhibition catalogue 1995 & 2002
The Encyclopaedia of Picture Framing - Headline Books
The Complete Manual of Relief Printmaking - Dorling Kindersley
Engravers II - Silent Books
INFLUENCES & INSPIRATIONS
Just a few of the things that make my art look like it does…
(in no particular order!)
Edward Wadsworth, Scritti Politti, Matisse, maps, the writers of The Wire magazine, Roger Dean, Russian constructivists, landscape books by Ian Jefferey, Impact Theatre Group, compressed charcoal, John Fowles, Luigi Vanzan, dub reggae, Hebden Bridge, the creators of Italian scenic postcards ('Chromes' c1950-90), art deco architecture, Lao Tzu, Jan Vermeer, Enna, Fred Astaire, the Japanese print catalogues by Lawrence Smith, Pirandello, Vanessa Gardiner, the boxes of Ken Mahood, Ian Mortimer, music, Picasso exhibition (Paris 1979-80), Swansea, Willow Winston, Turner's sketchbooks,
Colours in the actual works will differ from the images seen on screen because of the translation from pigment to light source and also due to the vagaries and limitations of scanning the works. Generally the colours will not be as vivid in the works as pigments cannot match the luminosity of the screen.
Because many of my works are very small you may find that you are viewing them larger than life when they are full screen.
Much of the surface quality will also be missing from the images shown on screen compared to the originals and the tonal range may also be compromised... apart from that they're just the same!