I’m originally from Manchester, but after completing a BA in Fine Art at Sheffield Hallam, I made Sheffield my home. I’m now based at Portland Works, where I have my studio and develop my printmaking practice.
I sell my work under the name Ecru Create, sharing my prints both locally and further afield.
Alongside my own practice, I also run workshops with two charities — Anomaly Arts Collective in Woodseats and Art+ at the Children’s Hospital.
Cherry-Mae Whitehead-Howse is a self taught printmaker with an MA in Creative Writing. After discovering linocut back in 2020, it has become her primary artistic outlet. Her work ranges from simple figures in modern or mythical settings to complex nature scenes with delicate creatures at their centre. Sometimes sadistic, sometimes tender, her prints explore themes of established narrative, childhood and the anxious struggles of daily life to create a broad collection of story driven artworks.
I’ve been dabbling with printmaking in my free time for around three years now, beginning with drypoint etching and then moving to linocut prints. I use both nature and the built environment for subject matter, and am still experimenting with different styles. I especially enjoy the tactile nature of carving lino, as well as thinking through the technical constraints of the medium.
Twosome handpulled multiblock linocut 20.0x15.5cm
Coming of Age drypoint etching 18.5x12.5cm
F-line Streetcar, San Francisco handpulled reduction linocut 25.5x19.0cm
Dhoon Beach, Kirkcudbright handpulled reduction linocut 24.5x19.7cm
Ivy Umbel in Bud reduction linocut 20.0x15.0cm
Wearily, Happily Homewards handpulled single block linocut 21.0x14.0cm
I have been a lifelong lover of the outdoor landscape. I have climbed, walked, camped, skied up and down,kayaked and swam, engaging with and enjoying the landscape in physically active ways.
My artwork is just a continuation of this. I engage with the landscape this time by sitting still, looking, contemplating and finally mark making- usually water colour sketches. This behaviour burns the landscape into my brain in a way that taking a photograph cannot. When I return home I revisit the sketches and transfer the images to collagraph plates and print the landscapes I have experienced. In a very real way I revisit the landscape and remember it: my artwork attaches me to the landscape and I remember it; like an invisible umbilical cord.
By selling my work, I offer others who might not have the time or inclination to make art, the opportunity to revisit their favoured landscapes in their own homes; they share my experience.
I feel that Sheffield Printmakers should mark the passing of Norman Ackroyd C.B.E. R.A. (1938-2024). As you’ll know Norman was considered to be Britain’s foremost exponent of the etching process. His work has been acclaimed and exhibited internationally. His loss will have an enormous impact, not least because he championed printmaking in an environment where many higher education institutions no longer offer printmaking courses or even modules on their degree programmes. Conscious of his having benefitted from state finance in his education, he made provision in his will for the financial support of a number of students who may not be so privileged.
Norman Ackroyd was born and raised in Leeds – one of five children. He studied at Leeds College of Art before moving to the Royal College of Art in London. He specialised in rugged, atmospheric landscapes which he captured in watercolours and etchings to wide critical acclaim. Working largely from his Bermondsey studio, he collaborated with other artists and poets, initially managing his own output and holding annual open studio events. In recent years he trusted more in gallery outlets, most noticeably Eames in London. He was working until August of this year, his last piece being a watercolour for a restaurant in his locality.
I bumped into Neil Woodall last week who, for many years, expertly editioned many of Ackroyd’s prints from his studio in Sheffield. He felt Norman’s loss as life-changing. Some years ago I was fortunate to meet Norman when he gave a master class/demonstration of his techniques at Yorkshire Sculpture Park, ably assisted by Neil. This coincided with an exhibition of his work. He and Neil gave a wonderful performance to an audience who were enchanted with the partial initiation into the process of ‘painting with acid’ which was his trademark. I say ‘partial’ because mischievously, Norman always witheld a little something to tantalise his students. He and Neil were a great double act!
I hope that browsing Norman Ackroyd’s work will inspire other printmakers in these dark days.
For more information please see some of the many obituaries which appeared in the press. They include images of Norman’s work which for reasons of copyright I haven’t included.
Several members of Sheffield Printmakers took part in the 20:20 Print Exchange 2024.
The 20:20 Print Exchange is an annual international printmaking project organised by Hot Bed Press. Print groups – comprising five or more artists – each create 25 original prints, all sized 20×20 cm. In return, each participant receives a curated box of 20 unique prints from fellow artists around the world. One print from each edition joins a touring exhibition, showcasing the diversity of global printmaking.
Participation by Sheffield Printmakers was organised by Valerie Vernon. The submitted prints are shown below.
Sheffield Printmakers member Pat Hodson will exhibit two books as part of the artists’ book exhibition at the Central Library in Liverpool. The exhibition will run from 3 September to 31 October 2024.
S.J. Cooper-Knock returned to art, music and poetry several years ago. Their work ranges from immature puns to protest art, and from nature to urban areas.
