About Fiona MacGregor

fionaweb

My favourite printmaking medium is wood engraving, on end-grain box or lemonwood. This allows for fine detail because the wood grain does not interfere with the image. It is a slow process, and quite unforgiving, so I find that a carefully worked-out drawing before committing to the block is the best way to proceed.

My work mostly reflects the area near my home in Hastings. So far it has been mainly landscape or buildings but my next project will be an interior. Places often change after the print is made: Adams Farm’s barns were demolished for road construction; trees are cut down or limbs removed. Thus they become records of the past.

I have previously exhibited at Oxmarket Centre of Arts, Chichester.

About Carol Robson

carolrobson2webI approach print-making from a background of oil painting and portraiture, and a strong interest in the face and figure, and in capturing contemplative moments of experience or dynamic actions, like dance.

I employ a variety of print-making techniques (e.g. Lino printing, Dry Point Etching, Screen Printing, Mono printing and Solar plate etching ) and enjoy combining techniques to achieve different kinds of mark-making in the same composition. Cutting a lino block, for example, is particularly good for achieving bold, expressive marks and communicating an image forcefully. Dry point etching tools can be used to score marks that are like drawing with a needle, and the ink left on the plate as ‘plate tone’ can be similar to the tonal effects of painting. Combining the 2 techniques can create an image that is both powerful and subtle.

I produce variable editions, which explore some different effects of colour or mark-making in each print, even when the same block or plate has been used.

About Martin Davidson

Stream - Martin Davidson
Stream – Martin Davidson

My work explores the rhythms and forms of the natural world. The printmaking work is a distillation of drawings from observation and photographs, the final image, a result of reducing the complexities to a more abstract and expressive graphic equivalent. I am also interested in the relationship between positive and negative mark making and the borderline between the figurative and the abstract.