Tag Archives: printmaking

SNAP 2015: International Printmaking Symposium

Between 12 and 15 November 2015 the print association Druckvereinigung Bentlage e.V. held its third International Printmaking Symposium SNAP 2015 in cooperation with the cultural institution Kloster Bentlage gGmbH in Germany and the AKI ArtEZ Institute of the Arts in the Netherlands. The two previous symposia focused on the position of contemporary printmaking between traditional methods and the digital future, and the role of printmaking in the international art world. This symposium examined questions concerning the subject Kunstraum Druckgrafik: Printmaking in Other Forms of Art. Specifically, it addressed how various modes of expression in contemporary printmaking combine or overlap with other art disciplines, such as sculpture, painting, installation, film, paper art and laser cut. It also illustrated the increasing significance of the interaction of printmaking with other areas of art in fine art educational institutions in Europe and elsewhere. From a historical viewpoint, printmaking has always been a hybrid medium that has adapted to current technology. Printing was and remains a means of spreading ideas and information, and a catalyst for social change.

CCW Professor Paul Coldwell was invited to give the keynote, called Print, making and the work of art alone. ‘My paper  considered the relationship of print to the transmission of ideas through the multiple. This includes the changing role of the print studio and how artists are increasingly viewing print as an opportunity to produce work, which is distinct and resolved within the medium of print.’

Chelsea MA Fine Art 2013 alumna Tanja Engelberts was asked to participate at the Haus der Niederlande with two other artists from the Netherlands in one of the exhibitions linked to the SNAP symposium. She exhibited a work called Seance, which she made on the MA Fine Art course at Chelsea.

After she completed her degree, Engelberts won the Clifford Chance sculpture award, where she displayed the Island a work exploring escapism within a corporate architectural environment, while simultaneously investigating the relationship between sculpture and photographic imagery. A stipend for emerging artist from the Mondrian Fund (Dutch art council) enabled her to develop different projects including a residency at the Ucross Foundation in Wyoming USA, a commissioned work for Scheveningen prison commemorating its second world war history and various group and solo exhibitions.

Currently Tanja Engelberts lives and works in the The Hague NL, where she is preparing an expedition to a North Sea drilling site in order to research the economic, ecologic and human presence on a seemingly empty space.


Top Image: Seance by Tanja Engelberts

Student Seminar with Jim Dine Prints

On Wednesday 4 November CCW Professor Paul Coldwell brought a group of students from Camberwell College of Arts to the British Museum to work with their new collection of Jim Dine prints.

Coldwell said, ‘As a taster in advance of my in conversation with the American artist, Jim Dine on 25th November, 6-8pm, I arranged an informal seminar with ten students from MA Printmaking at Camberwell in the beautiful Prints & Drawings study rooms of the British Museum. Dine recently gifted over 200 prints to the British Museum in honour of his dealer, Alan Cristea.


For anyone interested in contemporary printmaking, this is a rich resource, not only to enable an in depth study of this remarkably printmaker, but also to see close up, the wide range of techniques that he has employed, and in some cases invented. There is no substitute for seeing prints “in the flesh” and having such an open and rich resource makes studying in London so special.

After the British Museum, we walked to Alan Cristea Gallery in Cork Street to see the show of Cornelia Parker and by chance met with Alan Cristea himself, fresh from Jim Dine’s print retrospective in Essen so the day had a certain symmetry.’

The student who attended had a positive feedback they agreed. Robert Marney said, ‘Thanks ever so much for showing the second year printmaking around the British Museum yesterday, the work was fantastic, It was greatly enjoyed by all. The work you selected of Jim Dine was superb!!’ Isidora Papadouli said, ‘It was a great opportunity to observe Jim Dine’s work and respond to his images and his printmaking techniques.’

Material Things: Sculpture and Prints

Gallery II is proud to present the first exhibition that brings together a significant number of sculptures and print works by CCW Professor Paul Coldwell.  Bronze and resin-casted objects, bookworks, photo-etchings and digital prints produced for a variety of contexts over the last sixteen years are re-presented and placed into dialogue in this exhibition.

With a diverse range of references and sources of inspiration – including news reportage of the Bosnian conflict in the mid 90s, avant-garde composer Steve Reich’s speech melodies, 19th Century Italian modernist Giorgio Morandi, The Freud Museum and Captain Scott’s expedition of the Antarctic – for Coldwell the opportunity to exhibit these works in one place ‘presents an exciting challenge and the opportunity to see how this work, much of which was originally made for specific locations, might speak unaccompanied.’

Coldwell’s relationship to Bradford and the North has been developed through his role as guest curator of the Artist’s Folio exhibition at Cartwright Hall in 2014 and his participation in the Northern Print biennials. Curator Amy Charlesworth feels that the exhibition resonates especially well in this location: ‘The University’s permanent art collection holds some significant print works by artists such as Ceri Richards, David Hockney, John Piper, Derek Boshier and Sidney Noland. Moreover the history of the print biennials held in Bradford from the late 1950s to 1990s is a pertinent landscape through which to approach Coldwell’s investment in the print medium.’

Material Things: Sculpture and Prints runs from March 13th to Friday May 15th Monday to Friday 11am – 5pm (open til 6pm on Thursdays) with an opening on Thursday 12th March from 5pm that all are welcome to attend. A special discussion event with the artist and an invited panel will take place in May. The exhibition is accompanied by an 88 page fully illustrated catalogue with an essay by Anna Moszynska.

Oficina Bartolomeu Dos Santos Residency

The Oficina Bartolomeu dos Santos (OBS), is the printmaking studio of the eminent Portuguese printmaker Bartolomeu dos Santos, familiarly known as Barto. When he retired from being Head of Printmaking at the Slade School of Art Barto inaugurated a print prize in his name for a graduating MA Visual Arts: Printmaking student from Camberwell College of Arts. He died in 2008, but last year, through OBS, a new award of a residency in his studio in Tavira, Portugal was created, and Annika Reed has been its first recipient. The fully equipped studio offers facilities primarily for intaglio, for which Barto was so famous. However, the presses can be adapted to print relief and Reed took full advantage of this.

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Tutorial with Paul Coldwell

To offer tutorial support and the occasional glass of wine and local food, CCW Professor Paul Coldwell (himself a pupil of Barto’s) also worked in the studio on new prints to be shown at his upcoming exhibition at the University of Bradford in February 2015. Reed was incredibly productive and took full advantage of the residency, both consolidating the work she was doing as an MA student, as well as extending herself and taking risks, leading into new printmaking possibilities. ‘Everyone at OBS was really impressed with her work and energy and have confirmed that a similar residency will be offered for a 2014-15 MA Visual Arts: Printmaking graduate. I really hope that this is the beginning of a long association with OBS, and it is a poignant way of ensuring that the legacy of one of the 20th century’s great printmakers and teachers will continue to inspire another generation,’ said Coldwell.


The road on which the studio is situated, named after Barto

Writing about her experience, Reed said, ‘Armed with one tin of black ink, five pieces of Japanese plywood, two rolls of Hosho paper, a camera and two sketchbooks, I wandered out of reality and into the studio of Bartolomeu Dos Santos in Tavira, Portugal.

I am interested in the question of life’s seeming absurdity and being taken out of my everyday life allowed me to find inspiration within my temporary surroundings.

I was awarded this residency at my MA show and I was cautious not to make prints similar to that particular body of work. Instead, I wanted to use the time and space to experiment with different ideas taking me out of my comfort zone in order to start a new investigation. Paul Coldwell was making a series of etchings in the studio alongside me and his guidance was invaluable throughout the residency.

Photography became an integral part of my enquiry in Tavira, with the shapes and patterns documented being echoed in my paintings and prints. Not all of the outcomes were successful. However, they will act as a vital starting point for further development back in my studio in London.

Working and living in the same space was a new experience and it allowed time for reflection and brought up a lot of questions, some of which are still unanswered.

The studio of Bartolomeu Dos Santos is an incredible place and my visit was made even more special by the people I met. They welcomed me into their family and showed me the local way of life, an experience I shall never forget.’



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Cutting wood in the studio

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Working through artist block

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Experiments with repetition