Artist

Email: speenoch@yahoo.co.uk

www.alexmcarthur-art.com
www.facebook.com/AlexMcArthurArtist/
www.instagram.com/alexmcarthur_art/

Please click here for examples of my work.

Sheffield is the adopted home of contemporary painter and printmaker Alex McArthur and where she has established her art practice in
drawing, painting and printmaking. Skies, trees and water have inspired her for as long as she can remember. Her favourite printmaking technique is monotype, for the spontaneity and experimentation it allows and for the surprises in colour form and texture that it engenders.
Alex’s paintings and prints are where memories and imagination merge in wide open spaces and the natural world. Strong contrasts are present in her work; stillness and movement, space and restriction, colour and monochrome, form and abstraction. Alex has exhibited her work at home and abroad and early in 2020 had her first solo show. Some of her prints can be viewed at All Good Stuff, 72 Arundel Street, Sheffield.

Please click here for examples of my work.

Since retiring from teaching Science, I have taken up printmaking and have spent a few years working at Peter York’s workshop exploring colour and shape. On the whole I have been using the intaglio technique with dry-point card to produce a variety of abstract prints. Given my scientific background, many of these prints have been based on biological themes. E.g. mycelium, cell structure and crystalisation. Recently while still keeping an abstract and impressionistic feel, I have been exploring ways of producing prints about more immediately recognisable subjects. My inspiration for these comes from my interest in walking in the countryside. My prints of coastal, agricultural and mountainous scenes are examples of this.

Recently, in 2023, I have begun to learn linoprinting.

Profile

Email unwinsj@gmail.com

Instagram. sueunwinprint

Most of my printmaking is developed from sketches made on walks around the Sheffield area, my work is inspired by nature, experimenting with both colour and texture. I often overprint my images with the base created from either plaster plates or mono-prints textured by pressed leaves, grasses, flowers and seed heads or using chine-colle tissue paper coloured up with printing inks. The top images are generally from Lino-cuts or drypoint or re-using the base image in another direction. Other images have been formed using intaglio printing on a parcel tape etched plate. These methods are all very exciting because it is impossible to determine exactly how the final print will look.

Please click here for examples of my work.

Please click here for examples of my work.

I have been doing linocuts for about five years. I don’t have a background in art, so it’s been really exciting building up a few skills in printmaking. In my first successful print I drew on scenes from Edward Lear’s nonsense poem The Pobble Who Has No Toes. During lockdown I made my niece a retelling of The Incy Wincy Spider, using linocut and collage techniques. 

I joined Sheffield Printmakers in 2021 and have learnt a lot from other members. This year I felt really inspired by the landscape around where I live, and I made a series of prints of the Heeley and Meersbrook Allotments. I love the colours and use of line in Edward Bawden’s work so spent some time studying his prints while I was working on my designs. 

I am a self-taught linocut, printmaker I love the process of printmaking, the physical labour of love when carving out designs and then the completely separate ‘wow’ moment of revealing the work in ink.

I am inspired by the city we live in, and spaces where the built environment collides and complements the natural world. I get inspiration from long walks as much as from galleries and books.

www.pathodson.co.uk

Please click here for examples of my work.

I make books 3d forms and wall based artworks. I work freely with both techniques and with materials, cutting and layering of paper and synthetic alternatives to paper

I explore the tensions between hand drawn marks with the suggested computer drawn marks, and how hand applied colour – pigment, yarn, crayon or dye – and whether inlaid or overlaid, interacts with the inkjet printed colour. Further marks might be added after printing, by laser cutting, or by piercing and punching – marks which erupt through the paper.

Why books? Since the early 1990’s I have recorded my explorations of materials and of colour within the book form. These began with dye on cloth and paper, later digital image, printed on to experimental substrates, whether inkjet on paper collage or thermal transfer on synthetic, heat fused collage. Within the covers, the coloured dyes and pigments are preserved, protected from inevitable change.

A book might simply record my experience of place or time, or it might be somewhere I can ‘draw out’ a visual idea into a sequence, where each page is a fragment of the whole.

I have been exhibiting since the 1970’s, and internationally from 1992 and was awarded travel Burseries from the Arts council for several of these; China in 1997, Japan in 2002, Finland in 2005 and U.S. In 2007.

Recent exhibitions, in 2021/2022 have been Papier Global 5, Degendorf : Germany

The Third Shanghai international Paper Biennale, China and the Toyota paper exhibition, japan

Work represented in public and private Collections, includes Eureka College, Illinois; The Textile Museum, George Washington University, US (part of the Lloyd T. Cotsen collection); Carmelite Chapel of St Teresa of Avila, Beacon, New York Filac : International collection of Contemporary Artists Books (Marseilles); Neukoln Public Librar. Guiyang Museum, Guizhou, China. Rikhardinkatu Library, Helsinki, Finland; British Art Library, V&A;Bath Spa University Library;Leeds University, Brotherton Library

Email: calcs.prints@gmail.com

Instagram: https://www.instagram.com/calcs.prints/

Please click here for examples of my work.

I have a passion for working with lino printing; rooted firmly in the processes involved with this art. I find the act of carving my blocks to be really cathartic – an action that simultaneously takes a lot of concentration whilst allowing space to be mindful and present due to the nature of the carving. The printing element offers a real “reveal” type of reward, and I often feel like my prints are a secret until I pull them from the block and see how they’ve turned out.

I’m printing from my home in Sheffield, and I use a baren to hand print my designs, which makes the journey feel incredibly personal.

I’ve found that music that I enjoy and landscapes that make me feel at home really inspire me to carve. I’ve printed a few bits and pieces for musicians, and it’s something I’d love to do more of in the future.

Visual artists that I admire include Kid Acne (who’s created some iconic pieces in Sheffield) and Error! Design (an artist that’s created some incredible designs for musicians).

I’m excited to be a part of Sheffield Printmakers and to continue to learn and develop as a printer.

Website – www.rezwanasarkar.com

Email – rezwana.farin@yahoo.co.uk

Instagram – @rezwanafarin 

Please click here for examples of my work.

I am a Sheffield based visual and mixed media artist. I have graduated from Sheffield Hallam University in Fine Arts 2004.  I work with a variety of materials including encaustic wax, oils, acrylics in painting and mostly monoprints and collagraphs in printmaking. My works are mostly abstract and semi abstract paintings and prints which are derived from my personal experiences and feelings of certain places and nature.  

My work deals with nature and landscapes that are around me. I like to paint/print the vastness and then looking closely to the details of natural elements such as a leaf or a twig. Through my work and art practise I feel connected to the nature and feel rooted to ‘here and now’. My works are very expressive in nature. In printmaking I mostly do monoprints and collagraphs that are painterly in style. They are mostly abstract/semi abstract landscape paintings and or detailed botanical prints.

My process involves going for mindful walks or just be in a certain place. I then bring the feeling of the place along with photographs and sketches into my studio at the Exchange Place Studios and work intuitively with it. I also explore the notion of autotelic practises and bring for example leaves or twigs into my studio as if bringing a part of the nature with me in a tangible form and print from it.

Website: www.peterpainterprintmaker.com
Email: peterpainterprint@btinternet.com
Tel: 0114 2580110
Mobile: 07749 216291

Please click here for examples of my work.

I studied fine art sculpture for my degree at Newport college of art in a building down in the docklands called Bolt Street. It was a great learning experience and has informed everything I have done since. I also studied printmaking at A level and have taken a number of summer schools at Falmouth college of art.

Printmaking is now the main focus of my visual out-put but it is with a thought to sculpture at all times. My sources will range widely and wildly from landscape, science and the wonderful history of art. I draw daily where ever I am from nature or ideas based on what I am reading, studying or listening to.

I taught art and design for many years in the Sheffield college and now run regular workshops from my home studio three days a week.

Email: sarahburgess6@gmail.com
Website: www.sarah-burgess.com
Website: www.textilestudygroup.co.uk/members

Please click here for examples of my work.

Mono print, or mono-type printing, has become a passion with me. I have always loved drawing and the way that a very simple drawn line or mark, made on the reverse of a piece of paper or fabric which has been laid on a thin layer of printing ink, picks up the ink and becomes so much more expressive never fails to excite me.

Mono-print is ideal for original, creative work on paper or fabric where each print is unique.

Working with print on semi-transparent surfaces gives lots of potential for layering marks and images, cutting through layers and over printing, reusing cut away areas on the front or back of the work and perhaps developing shadows within the layers.

My training as an embroiderer frequently prompts me to add stitch to my prints, building further layers of marks and responding to the printed surface.

There is a lot of water in the valley where I live, streams and deeper pools give marvellous opportunities for reflection. The base of the pool may have decaying leaves and stones overlaid with floating weed, ripples across the surface and the reflections of light pouring through branches overhead dancing in the breeze.

Glancing Shadows 2

Glancing Shadows 2
Mono-print on paper and fabric with stitch
31 x 21 cms

Glancing Shadows 4

Glancing Shadows 4
Mono-print on paper and fabric with stitch
31x23 cms

Golden Ligh 2

Golden Light 2
Mono-print collage with stitch
23 x 23 cms

Golden Light 4

Golden Light 4
Monoprint on paper with stitch
67 x 53 cms

Moonrise 1

Moonrise 1
Mono-print on semi-transparent surfaces with stitch
55 x 43cms

Portal 2 detail

Portal 2 detail
Monoprint on paper with stitch
67 x 53 cms

Portal 2 crop

Portal 2
Monoprint on paper with stitch
67 x 53 cms

Moorland series. Evening Light

Moorland – Evening Light
Mono-print
42 x 53cms

Email: a.r.stephenson@talktalk.net
Tel: 0114 2295404

Please click here for examples of my work.

Having painted and drawn all my life, a few years ago I turned to printmaking. After a few experiments it became clear that collagraph was the medium that attracted me most and I have been focused on it ever since. The long period of drawing and painting had led to an accumulation of sketch books and other work which provided a foundation for making collagraph prints.

The natural world provides an endless choice of possible subjects and very much fits in with my interests as a birdwatcher. Old industrial areas and building sites as well as harbours and shipping areas provide a tremendous variety of subjects.

Part of the attraction of collagraph is its flexibility and the range of approaches it offers; this means that it can be adapted for all kinds of subjects and can produce hard-edged images as well much softer and more atmospheric ones. It also lends itself to experimentation with a variety of materials to produce a wide range of different surface textures.

As well as various events showing with Sheffield Printmakers I have had print work shown at the Harley Gallery, the Ferens Art Gallery in Hull, Derby Open Print Show,  Derbyshire Open (Buxton), the Art House (Sheffield) and the Great Sheffield Art Show.