Heidi Archer

 
My work uses a range of traditional printmaking methods including drypoint, linocuts and collagraphs.
I also paint using oils.
My work is quite diverse as I continually gain inspiration and follow the creative paths in whatever art form I feel best expresses the idea.
 
Heidi's website
 
 

Sarah Morgan

 
In my current work I attempt to portray insects as deserving of respect – the way they share our world with their diverse beauty and humour inspires me.
I use the direct intaglio method of drypoint as this allows me to use strong and delicate lines which convey their fragility and strength.
 
 

Emily Parr

 

 
My work combines strong forms with highly decorative surfaces, dealing with mark making and a build up of colours to compliment the form of the vessel.
This incorporates a process of drawing into the surface of the clay and then making aesthetic choices of marks to balance out the surface area, and then finishing with colour.
I have always been drawn to surfaces, textures, colour and patterns found in natural forms and man- made objects.
Clay allows me to incorporate these into my work.
I studied Ceramics at University of Wales, Institute of Cardiff, and I am now a Secondary Art Teacher.
 
 

Alex Watkins

 
All the pictures shown are individually hand-printed linocuts of trees in the landscape, using a baren.
With this series of up to four colour reductions, I was keen to produce images reflecting the architectural structure, dynamic movement, and familiar beauty of trees.
I have recently rediscovered the technique of reduction printmaking and am fascinated by a process which so clearly reflects acts of mark making in the finished picture.
I studied sculpture at the Exeter School of Art and Design, and now work building bespoke tree houses and play houses.
 
The Childrens' Cottage Company
 
 

Caroline Wightman

 

 
The nursery rhyme theme came from a need to begin again.
Although they started as pictures for my children, the characters and atmosphere have taken a slightly sinister turn.
From a concrete starting point the idea of the more intangible began to appeal.
I appear to be attracted to real subjects that always seem just out of my arms reach, such as ships at sea or a flock of crows.
The processes of dry point etching give my drawings more energy.
The physical action of scratching into a hard surface adds weight to the narrative.
Inking up the plate allows me to alter the mood and change the atmosphere of the plate.


 

 

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