SARAH MAYHEW gives an exhibition of printmaking the stamp of approval

Oxfordshire has been swept by a printmaking wave of tsunami-proportions, leaving the walls of the county’s art galleries dripping in ink.

Printmakers are perfectly placed to produce editions, and as such the cost of buying their work can seem considerably more affordable than purchasing other one-off forms of fine art, take sculpture or painting for example. This makes prints perfect present material; and as the nights draw in, and many of us start to focus on the festive season there’s no wonder canny curators try to lure visitors in with moderately priced multiples.

From the prestigious investment opportunities of Peter Blake, the Godfather of British Pop Art, at Cassington’s Hemmingway Art Gallery to the regurgitation of local contemporary classics at Oxford Castle Quarter’s O3 Gallery, and so much in-between, art enthusiasts can be forgiven for not knowing which way to turn when it comes to the plethora of printmaking on offer.

So, where should one go to find high quality fresh new talent? Look no further than the encyclopaedic approach to print taken by the Old Fire Station’s curator, Sebastian Thomas. Following in the footsteps of an enormously popular Pop-Up Print exhibition at the OFS in 2012, this show surpasses the high expectations set last year. Showcasing the cream of South East England’s printmaking crop, Thomas’ exhibition opened to a warm reception in the gallery off Gloucester Green tomorrow, and continues until Saturday, November 30. With an emphasis on different printmaking techniques and an eye on the price tags, Emily Marston, gallery and shop manager said: “It is great to have this exhibition returning with new names and new work. We’re stepping it up this year with bolder ideas, bigger prints and different styles. For those struggling to find a unique gift for Christmas, this will be the place to find it”.

In short, Sebastian Thomas has been painstakingly scouring the region for the past 24 months to serve up 12 of the best emerging and established printmakers practicing in Oxford and across London and the Home Counties. Those artists include: Alex Hackett, Theo Peters, Miesje Chafer, Sarah Lacey, Sarah Hoyle, Charlotte Farmer, Roz Woodman, John J Lynch, Jack Taylor, Gerti Paavel, Elizabeth Lake and Sophie Lamb.

The OFS’ white cube space has been domesticated with bold blocks of colour that enable the viewer to imagine the array of delicate dry point, linocuts, screen prints and woodcuts back at home sweet home. So what has caught Thomas’s eye? Which of these wonderful works would he least like to live without, I enquire: “I really love John J Lynch’s Royal Mail Building print,” he says.

“It’s the only architectural print in the show, and it’s technically quite complicated, lots of densely worked layers of colour.”

Bristol-based Lynch uses wood cut reduction and multi block reduction relief, often with interchangeable sections and experimenting with found objects and blocks that result in a highly unique form of relief printing that is less contained, and freer than one might expect.

For me the joy of this exhibition is the eclectic collection of surprises at every turn. Take the artist/performer Gerti Paavel’s drypoint etching of two tortoises, for example. These half-worked cranial cased creatures possess a fascinating sense of poise and drama that leave the viewer lusting after more works by this interesting artist.

Any music aficionados among you might recognise the illustrative style of Sarah Hoyle whose work has adorned the album sleeves and merchandise of Oxford bands Gunning for Tamar and Alphabet Backwards as well as promotional gig posters for various local musicians. Others may recognise the iconic edges of Theo Peters’ linocuts. A peer of Hoyle Peters’ work too has become synonymous with the local music scene having created designs for Phil McMinn and Salvation Bill.

The arresting work of Oxford-based artist Alex Hackett was next to catch my eye. Hackett’s monochrome prints on colour-blocked backgrounds form part of a series entitled body/landscapes. The stunning series sees decapitated body parts lie large and motionless in natural environments carving out looming landscapes of their own. These prints enrich the viewers’ engagement with the natural world by asserting a sense of distance between nature and man. In short, I would implore everyone to hot-foot it down to the OFS to check out this Pop-Up Print show – it is a cracker of an exhibition of printmaking perfection.

  • The Pop-Up Print exhibition continues until Saturday, November 30, at the Gallery at the Old Fire Station, George Street, Oxford. Opening is Tuesday-Saturday, 10am-5pm – admission is free.