City Lit Blog

'Concatenate' printmaking show - 11-15 June 2018

Story added 24th May 2018

Concatenate flyer


Concatenate and Pressing Time showcase work by emerging artists, designers and makers as they conclude their year of creative study on the City Lit Advanced Fine Art Printmaking Course. The works in each exhibition reflect the ten exhibitor’s individual passions, creative concerns and their dialogue with traditional printmaking. These works on paper include; wall based work, site specific installations, artists books and a collaborative box set of prints and demonstrate both process and technical skill.

Artists will exhibit their own work but also a collaborative box set of prints created during terms two and three. The clamshell boxes were made in sessions taught by bookbinding tutor Ina Baumeister. The set exhibited in each exhibition are those to be donated to City Lit. 



Monday 11 – Friday 15 June 2018
Private View - Wednesday 13 June 17:00-20:00
RK BURT GALLERY, 57 Union Road, London, SE1 1SG

Exhibitors: Greg Beavis, Georgina Fay, Misa Gott, Lucie Gutfreund, Hannah Johns, Eve Lear, Catherine Guy-Murrell, Claire Norton, Phillipa Prince, Heather  Rogers

See the 'Concatanate' Instagram for more images @concatenateprint

Artist statements

Greg Beavis

The work exhibited here references my on going interest in the 'gesture'; the action and energy involved in making a dynamic mark.  These marks have been captured and transformed into prints using a variety of techniques, each with a different quality.  Sugar lift aquatint tends to capture the direct gesture most effectively.  In other works the gestures caught with carborundum result in a softening of the initial mark but this is compensated by the embossing of textures captured in the paper which are so characteristic of this method.  Finally painted gestures on acetate have been translated and printed on photo polymer plates.  These are layered on top of my collages, which all contain sections of my abandoned gestural prints from the past.  Rejected prints made in preparation for this exhibition might well re-appear in work that is to be made in the future.  Thus the momentary initial gesture has the chance to live on.

Georgie Fay
I am a participatory artist and printmaker, and run workshops and activities responding to my practice with various participants in and around central London.

Participation, sharing and socially engaged practice is at the heart of my work and has led me to explore particular themes. My art practice is both installation and print based, it researches the theme of ‘Loss of Imagination’, 'Finding Home' and 'Mapping our World' and particularly explores this in relation to den and shelter building. 

I am particularly interested in bringing together my installation work and printmaking practice by bringing the prints out of the frames and into our real world - taking our imaginations with us!

My current solo exhibition at Half Moon Gallery 'Halfway Home' 18 April - 9 July 2018 is a thought-provoking collection of photographs and prints exploring the notion of home, and the everyday journeys we make which are often taken for granted. My work for this exhibition explores the notion of flight and the journeys made by migrating birds, using the current migrant crisis as a point of poignant reference. My work represents the feelings of homesickness and nostalgia, which are often evoked when travelling and experiencing unfamiliar landscapes. Instagram: @faygeorgie

Misa Gott
My work is based on everyday, ordinary encounters with nature such as the sound of rustling leaves and the humid smell of rain. I find more connections with nature through these encounters than grand, sublime sceneries. I believe this is due to my upbringing in Japan. In Japan, our relationship with nature seemed much more closely woven into daily life. Japanese people live with natural disasters as well as the abundant benefits the dramatic nature offers, such as hot springs and cherry blossoms.

In my work, I explore the relationship with nature using amorphous and organic forms in contrast to geometric shapes and marks. While geometric shapes and marks often represent “man-made”, I am fascinated by the coexistence of regularities and randomness in nature. We human beings attempt to make sense of nature by trying to find regularities or applying rules i.e. finding patterns. Yet we are surrounded by and are part of the intangible and transient laws of nature.

The transiency and elusiveness of nature informs my process. Once I determine a starting shape and colour, the rest is produced organically following my instinct and aesthetic. Printmaking for me is not just a process to produce a final image but a way to “cultivate” my work as I run it through a printing press. While my prints tend not to be multiples, I often create a series of images in order to depict the movements or sequence when viewed together.

Hannah Johns
I make prints as a means of re-organising my perspective. I work frequently with collage, bringing together disparate images or objects to create contradictions and curiosities, and then reiterate these by experimenting with print processes. I work with photographic and hand rendered imagery and my prints often include a combination of processes, including screen print, collograph, mono-print or lithography.

I am interested in storytelling, and how our construction of narrative leads to our understanding of ourselves and our definition of truth and objectivity. I use my working process to play with my own hypocrisies, confusions and dissonance, borrowing ideas from areas of knowledge which interest me such as ethics, psychology, literature and historiography.

The work in this exhibition centers on the concept if “Jinns” (or “Genies”) borrowed from Arabic and Islamic mythology. I became interested in the roles these part-spiritual, part-physical beings play in their stories and saw it as a proposition against which to consider the ways we define “human-ness”. These images are a collection of interpretations of the Jinn, constructed out of images from the contemporary media.

Eve Lear

Examining a vinyl record with a printmaker’s eye, I see an etched plate, a drawing almost invisible to the eye, trapped in a mysterious material carrier. 

Pressed from a single ‘master’, each copy of a record is a matrix for producing (‘printing’?) sound-images, capturing and repeating a temporal sequence, like a time capsule. Or, it is a performative drawing, a drawing that only fulfills itself in motion. 

I prove this by using the record as a plate and taking a direct print, producing an image. The record’s capacities remain invisible. Simulating the action of the record player with a human arm and a sewing machine needle (ie using the wrong tools for the job), I work over these prints, producing paper ‘records’ that cannot play. Using these paper records as stencils, I have fresh matrices from which to produce record-like images, but the record itself remains opaque. Trying again, I mimic the action of the record player with a wood block and a potter’s wheel. This record does not play either, but once again I have a printable plate.  

How does the sound inhere in the record? As an object it is so tidy, so compact, its line trapped in a spiral barely visible. With expert help I examine the record with a Scanning Electron Microscope and find a surface huge, varied, and messy. A fresh landscape in which the matrix itself becomes the image, large like the surface of another earth, a landscape that could produce sound, given a large enough record player and the right tools for the job. 

Catherine Guy-Murrell

I am interested in how the outside world is perceived through the windows of the contemplative inner spaces that are art galleries and museums. My work draws attention to the fleeting nature of perception as well as the complexity involved in the simple act of looking. My prints are moments of intense focus, yet all are fragmented impressions to be speculated about. A single etched window at Glasgow’s Gallery of Modern Art provided the distorted frame and reflections for this work.

Claire Norton

My art practice is informed by my background as a Sports Massage Therapist. My focus is that of the physiology, form, and appearance of the human body, primarily the contrast between the surface and what lies beneath. 

In past projects, based upon personal experience,  I have engaged with the narratives surrounding  ageing and physical deterioration. Frequently I use photographic imagery as a source from which I develop my ideas.  I am interested in exploring the ambiguous nature of familiar forms and use relative scale, cropping and layering to abstract every day representations. 

In my recent work I am exploring the intangible quality produced when energetic, gestural marks and the mechanical rendering usually associated with print, collide. The material process of printmaking affords me the means by which to continue this exploration.    Instagram: @curlyclairen

Phillipa Prince

My work has always been routed in my inability to make decisions, I make work that aims to remove the artist from the aesthetic outcome by imposing strict rules and guidelines that must be followed in order to visually realise an idea. This body of work stems from the pages of a second hand book called the Artist, where within two chapters the same word was highlighted and connected in order of appearance to form lines and then reconnected to create shapes.  I wanted to use this process as a means to abstract the text, to remove its meaning but instead created a new language, an abstract language of shapes and lines, shapes that create conversations, that can be read. I am interested in the way language can be interpreted, its systems and meanings, beginnings and philosophies. How words connect and disconnect and how layered and confused communication can be. With its history embedded in the communication of the written word printmaking as a medium to express ideas routed in language seemed the only possible process to work with. Using mostly dry point and etching I became interested in the way printed tone creates dimension and etched layers create confusion and complexity within the work as within conversations. Printmaking has always drawn me to it due to its physicality, its layers and its process and its ability to enable you to disconnect. I want to continue to explore colour within my work and the possibility of mapping language, the history of a word within a three dimensional space. 

Heather Rogers 

I have a strong interest in colour, pattern and photographic images and how these can be used to evoke feelings or/and a sense of place through printmaking. Monoprinting provides an effective form of printmaking whereby blocks of colour can be created and different mediums can be interspersed on top to create further abstraction and a sense of serendipity once rolled under the press. I have tried to capture simplicity and contrast in my mono prints through rolling the same colour with differing amounts of transparent extender. Polymer etching is another exciting printmaking method which I am exploring to create places and memories through the use of photographic images.