The lovely and talented print artists / curators at Liverpool John Moores University, namely Neil Morris and Hannah Fray, have asked me to create an edition print for A Liverpool Bestiary.

What’s a bestiary I hear you cry? Here’s an article by Professor Sarah Peverley, teacher of Medieval and Renaissance literature in the School of English at the University of Liverpool to explain.

As a woman of a certain temperature (to quote insightful friend Justin) I’ve been thinking about libido and the beast within. I imagine my libido to be male. I know, so sexist. I depict him as a featherless cockerel, the image ‘plucked’ from the obscurity of a background detail in an early multiple block letterpress illustration.

This character is strutting, but he’s not got much to offer. Performance is important to him, hence the curtains.

The hyacinth is a moving part. Keeps drooping / dropping out of the frame altogether. I love this print because it makes me laugh both at and with myself.


being cocky


it moves



This month I have been drawing using a mashup of print technique:


screen printed mother and child onto feint proof of Diana Bloomfield’s engravings


continuing the mother and child motif


mother, grandmother, child photopolymer and screenprint


overly complex?


simple but bonkers? lithograph and screenprint

Check out the a-n website. It’s a useful source of information for artists on opportunities, advice, insurance, daily rates, arts news, jobs. You can join the network of artists using it to connect, consult and blog about their work. The joining fee is cheap and once a member you can apply for a bursary. That’s what I did. They gave me a travel bursary to fund European networking and I’ve had the most amazing time. Read my blog on their site for more info.. Photo of lovely Kölner Graphikwerkstatt, one of the three remarkable print workshops I’ve visited in Europe over the past six months.


I’m publishing a pamphlet by Mark Wilsher here because he asks for it to be shared. It relates to research and the earlier post. The pamphlet is titled Semi_Formal.

At the end of this week I’m heading off to a Quaker Meeting House in Somerset for a two day residential retreat modelled on Matthew Burrows’ ABC Projects. Very hard to predict how this will span out but there are four of us and we will each be the focus of consideration for half a day. I’m prepping for it now.

The other three artists are Chitra Merchant, Tina Hill and Caroline Case. All women and near enough the same age. I’ll let you know how we get on.

Working towards a trip to Kölner Graphikwerkstatt. The purpose of this visit is to reconnect with Jutta Vollmer, whom I met at Liverpool’s John Moores Uni through EightDaysAWeek.

Jutta and I began working collaboratively when paired for the project PenPal in 2011 and 2012. Something integral to the partnership rang true.

Thanks to funding from a-n The Artists Information Company we have the opportunity to reconnect. At the time of applying for the funding I wasn’t sure why I felt the need but I’ve since given this a lot of thought.  Take a look at her instagram feed. I have a love hate relationship with the treatment of surfaces – decoration and pattern. I recognise this as an element of my practice needing serious examination. I think I will be able to look into it with Jutta. I’m going to suggest we create double sided drawings or prints and fold them, as a starting point. Also, using layout pads and carbon copy paper, draw sequentially and see what happens. She has a very solid drawing practice.

Here’s a recent record of play to provide visual (screen printed) content:



Today’s research is documented here.

I came back from Alkmaar with a number of lithographic prints, drawings really, in that each one was unique. They were the subject of a short critique with the wonderful Press Play group at Spike Print Studio. I determined to work on them further.

In my head: box rooms and simple buildings left to rot. Nature reclaims. You lose a thing and you gain a different thing.

The drawings derive from natural forms. I imposed a very simple built form on the drawing by folding it.


The folded drawing is a folded plane, mathematics. Instead of the back and the front it has interior and an exterior spaces. Exposed / enclosed. Pleats shorten distances: what was rectangular has become square.

To explore the interaction between the drawing and the folds, or drawing with folds, I took an element of the drawing and made 12 small drawings. Random thoughts whilst making the drawings: Laurel and Hardy, other artists who use ladders, bonfires and Glenville, trapeze, ambition, aspiration, so close, coming together, crossing, going nowhere, perspective, pairs and groups.


Then I improvised, folding each one in response to the drawings. Some worked and some did not.

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There was one I couldn’t fold.


I looked to see if I could join any of them together.

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Then I photographed a couple of them inside the folded lithographic print. I was thinking about architecture, architects, explosions, creeping.


Brain dead, I went to Boots to collect repeat prescription.

On the wonderful Press Play course at Spike Print Studio we have been doing some work on critique: techniques for giving and receiving feedback without pain. Our research included working through the ‘Q-Art’ book edited by Sarah Rowles. Fascinating. (I warmed to certain of the interviewees immediately.) We had a ‘crit’ of the work I brought back from Alkmaar. Am now working on the next stage of development for these lithographic drawings. The session was at Spike, as you can see from this photo.


Oooh. I am learning a lot this week courtesy of Grafisch Atelier Alkmaar.

Dutch: the word I hear most often from master printer Marja Vleugel as she tries to teach me how to make a lithograph on stone is ‘Nee’. ‘Nee nee…’ slowly with a gentle shake of the head meaning ‘don’t worry but that’s not the way’. ‘NEE!’ loudly with a sharp movement, meaning ‘keep the clean sponge out of the oil’. All her nee’s are nuanced.

Here she is teaching me how to registered second and third colours using pins and two holes made with an etching tool in the actual stone. Infinitely patient.


Prints in the rack this morning. (Great inks by charcoal black, carbon black and dense black but water soluble. Proving it’s possible to print with a water soluble ink from a greasy litho mark.)


Using gum arabic to create whites before tusche is dribbled onto the stone:



Tomorrow I’m off to the Netherlands where I will reconnect with the wonderful artists of Grafische Atelier Alkmaar. Planning to make a lithograph with their master printer Marja Veugel. I hope to establish a way forward for a couple of projects and I’m giving a talk. This visit is part of  a larger project funded by an Artist’s Newsletter travel bursary. I will be sharing the experience on this blog and, if you around, I’m giving a talk GAA will host next week:

Uitnodiging Artist talk_Opmaak 1