The
Show
Fine
Art Printmaking Degree Show 2004
This
exhibition of prints by Final Year Printmaking students brings together the
recent work of 16 artist-printmakers working within the discipline of Fine
Art at Cardiff School of Art and Design, UWIC.
The work was produced during spring 2004, using a number of traditional printmaking
techniques, for example, etching, stone lithography, screen printing and relief
processes. Print installation and mixed media prints also form another aspect
of work in the exhibition.
A unique range of ideas and approaches are demonstrated in the collection as
the students explore original, independent ways of creating. Drawing informs
much of their work acting as an important mode of research for the articulation
of ideas into print. The artists worked along side each other in the active
environment of the Printmaking studio to produce the plates, stones and blocks
for proofing and printing. Whether aquatint, lithograph, woodcut or monotype,
all work is printed using quality papers and specialist printing inks. While
some images can be printed in a limited edition, others cannot be replicated;
but each piece of work in the exhibition is itself an original print
The
artists have exhibited together as a group at Llantarnam Grange, Cwmbran, (2001),
and in autumn 2002 they produced a portfolio of limited edition prints commissioned
by The National Museum and Gallery of Wales. In winter 2003 the group of printmakers
showed at Howard Gardens Gallery, Cardiff. Their current exhibition forms part
of the Fine Art Degree Show at Cardiff School of Art & Design, UWIC.
Catherine
Bevan - Judy Lau - Teresa Bridger - Jessica Madge - Clare Bree - Helen O’Connor
-
- Jessie Brennan - Amanda O’Connor - Shelley Campbell - Lindsey
Porritt - Kathryn David -
- Adam Rapsey - Louise Davies Georgina
Reese - Claire De-Borde Carys Rowse
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Jessie Brennan
Final Year Printmaking Student
The
Fine
Art Printmaking area aims
to realize creative ambitions through a wide range of media, from traditional
means, relief printing, intaglio processes, e.g. etching, lithography and screen
printing, to modern digital print methods of the twenty-first century. At the
heart of Printmaking practice is the interaction of content with technical potential
and constraint. Also central to the discipline is the communal studio, or workshop,
which, by virtue of its structural and interactive demands, helps forge a clear
sense of personal and group identity.
These
achievements and strengths can be seen in the work of the sixteen students
in the year group of 2004. Their exhibition is remarkable in the level of
skill displayed, for example, in drawing, composition, pictorial invention
and device. From abstraction to non-objective subject matter, from portraiture
to decorative surface, from allegory to metaphor, and from landscape to locality,
this group makes a varied and substantial contribution to Printmaking practice
today.
Tom
Piper
Subject Leader
