THE Conceptualists
For those drawn to ideas as much as imagery, this trail highlights artists who challenge perception and provoke thought. Their works push the boundaries of process, meaning, and material.
Booth 4
HOLLY DREWETT | UNDERWATER CRACKLING AND POPPING, 36.8627053, 22.2483548, 2024
Holly Drewett is a visual artist currently based in Athens. Working with printmaking, painting and sculpture, her work is informed by sound and landscape. She explores ideas surrounding the hierarchy of the senses within her practice, interested in encounters between body and place; in how we navigate, physically, imaginatively and intuitively.
Nature acts not only as a subject matter but as a collaborator in Drewett’s work. She develops ‘listening drawings’ in response to field recordings, tuning into the sounds of atmosphere, animal life, and environmental texture. The drawings are then laser-engraved onto paper, creating a haptic and sensory quality. ‘Bird song at dusk’ was made in response to woodlands in Cornwall, while ‘Breath and sea sounds’ and ‘Underwater crackling and popping’ are inspired by her freediving practice and respond to underwater locations on the Greek coastline. Drewett views this active listening as a form of resistance and care: for the self, the environment, the human, and the more-than-human world.
Booth 4
EMILIA TELESE | OBSERVATION POINT, 2025
Emilia Telese’s Observation Point is part of Breathing Space, of her new body of conceptual, modular printmaking works deeply engaging with ecological concerns, and the emotional meaning of dust and breathing. It began with a question: what does it mean to breathe in a landscape that is constantly shifting? What if the very air we breathe affects us physically and emotionally? These works are made using volcanic and atmospheric dust collected during the extreme Icelandic dust storms at Dingjusandur, on the nearly inaccessible northern tip of Vatnajökull Glacier. The dust itself was gathered by Dr. Pavla Dagsson-Waldhauserová, whom the artist has been collaborating with for the past year, a pioneering scientist who studies how this extremely fine dust, shifted by the retreating of glaciers, moves across the Arctic and affects the air we breathe. In her Reykjavík studio, Telese mixed this dust into ink and used it to make engravings of Pavla herself moving across the plain and gathering the dust, in a very slow and deliberate process, as opposed to the quick, volatile, uncontrollable nature of dust. The work sits in the tension between those two gestures.
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Booth 19
YAXIAN ZHU | A THOUSAND KISSES, 2025
Yaxian Zhu is a Chinese artist whose interdisciplinary practice explores the entangled relationships between language, identity, and power.
This work approaches the relationship between body, language, and print through a lens of political feminism. A female body intervenes in the male-dominated system of Chinese calligraphy, using voice and lip imprints to disrupt its disciplinary structure and reveal the role of language within gendered power relations. It also reflects on the transformation of calligraphy in a contemporary context where its practical function has faded. The logic of printmaking—reproduction, transformation, and trace—is reimagined as a language of bodily politics, turning the acts of imprinting and repetition into gestures of resistance and rewriting.
Booth 1
THOMAS Gosebruch | JEC, 2025
Thomas Gosebruch views paper as a stage for decisions, from spontaneous gestures to deliberate acts. The line acts, embodying playfulness, surprise, balance, and reflection, alongside risk, contradiction, and dread. Guided by movement and rhythm, no fixed image is targeted; marks respond to previous ones, creating connections. Gosebruch deepens understanding by seeking maximum contrast within an evolving system. Cutting and joining trigger clashes and crises, revealing new paths and forms. These risks uncover the unknown, as hope and progress are reshaped on this paper stage, where decisions unfold and are observed, turning it into a unique creative arena.
Booth 7
ODILIA SUANZES | INMERGERE, 2022
Created in Mexico in 2022, Inmergere (from the Latin immergere, ‘to immerse’) explores the act of surrender to material, to movement, to place. Formed through the fluid dispersal of pigment, the work captures a moment of convergence between control and release, presence and dissolution. The surface becomes a site of quiet transformation, where gesture meets gravity and chance traces the memory of immersion. Rooted in the shifting landscapes that inspired it, Inmergere embodies the tension between stillness and flow, inviting contemplation of how matter, body, and environment continuously merge and evolve.
Booth 7
TAMSIN LOXLEY | THIS SHARED GROUND, 2025
Tamsin’s work sits alongside a regenerative farming practice. She makes ink from oak galls and charcoal from willow and silver birch. This Shared Ground explores how all things exist in relation to one another. One piece of land connects to the next; one person’s actions affect another’s; one tree’s roots intertwine with its neighbours’. The work reflects on what lies between things; the instinctual, the irrational, the balance of power, the quiet, the sensory and the embedded histories beneath the surface. It’s about what is forgotten, complex, unpredictable, messy and wild. It’s about ways of seeing.
Booth 33
Sumi Perera | THE SEVEN LAMPS OF ARCHITECTURE [A NOD TO JOHN RUSKIN & MARTIN CREED’S WORK 227], 2025
Sumi Perera is an interdisciplinary artist, academic, curator & adjudicator who makes print installations. Exploiting her background as a doctor & scientist born in Sri Lanka & living & working in UK, she makes interactive multimodular works that generate sound(electroconductive-inks), mutate in colour(thermochromic-inks) and illuminate in the dark (fluorescent/UV filaments/torch). In the multimodular works, she often hands over the editorial control to the curator/gallerist/display-team to play with the sequence or alignment to configure how best to hang it to fit into any given space. Her work can contract or expand, lines drawn out of the framed confines (with permission) to convert into an in situ installation blending in with its surroundings.
Booth 19
James Rogers | HIVE MINDED MEN SHARE BELIEFS WHILST TERMITES SHARE STOMACHS (HE'S BUILT LIKE A BRICK SHITHOUSE), 2025
Rogers's work explores themes of connection, dependency, and how these manifest within technological networks. He investigates the fragmentation or breakdown of connections as they shift between digital information and physical emotions, relating this to the digital-physical processes of 3D printing and scanning. The human-insect relationship features often in cultural narratives, such as Kafka’s Metamorphosis and Cronenberg’s Fly, reflecting transformation. Philosopher Zhuang Zhou’s concept of The Transformation of Things also informs this theme. As a printmaker and sculptor, Rogers feels affinity with armored insects, linking to etching’s roots in armor decoration. His sculptures use mud, inspired by the heath potter wasp’s mud pots for larvae. After reading Underbug, a study of Namibian termites, he envisioned termites merging into mud-formed men. Through this work, Rogers experienced a personal transformation—becoming hive-minded and hopeful like an insect colony.
Booth 23
Oona Hyland | PREGNANT BOOK FOR JANE E, 2022
Oona Hyland’s interests are interlocked in the materiality of print itself and what such processes can convey towards a conceptual art practice. Her method is a vehicle to articulate processes of memory, concepts of boundary, resistance, erasure, and decay. In this sense her work tends to draw from traditional printmaking even as she expands into various other media, such as drawing, sculpture, film and video. In her works she argues that the knowledge(s) of printmaking can be applied to existential matters. For the last three years Hyland has been working on a project called Active Forgetting based on the institutional abuse which took place in Irish mother and baby homes and Magdalene laundries, between 1922 and 1998.
