THE Ones to watch
Spotlight on emerging talent redefining contemporary printmaking. These rising artists bring fresh perspectives, innovative techniques, and fearless experimentation to the fore.
Booth 2
Liorah Tchiprout | Once Invited, It Steps In Gently, 2025
Liorah Tchiprout (b. 1992, London) is an artist based in London. Her work explores girlhood, belonging, and the theatrical.
Unique in painting from reality and imagination at once, Tchiprout stages mises-en-scènes using her ‘dolls’ or puppets who are based on close friends and characters from books - her ‘safe space’ of women. The puppets, inspired by the Modicut Yiddish Theatre Company (1926-33), enact scenes taken from recent translations of nineteenth and early twentieth century Yiddish female writers whose works are surprisingly contemporary and relatable in their approach.
Booth 22
KATHERINE ALLEN | COLLECTION OF ALMOSTS, 2025
Katherine Allen is an artist based in Sussex whose work explores the complexities of women’s roles and relationships.
This monoprint, drawn from a film still, explores the quiet tension of women’s interior worlds. The figure, seemingly at rest, carries traces of weariness and reflection. The mark making shifts between flat, muted planes and more expressive, gestural brushstrokes, suggesting the push and pull between containment and emotional release that often defines women’s lived experience.
Booth 27
ADE ADESINA | CONTEMPLATION, 2025
Ade's work is a visual commentary around the ideas of ecology and our ever-changing world. He is a traditional printmaker, painter, and sculptor. The artist combines cultures, producing work that makes people reflect on the past, present, and future.
"Contemplation" was inspired by Ade’s time in residence at Ushaw Historic House. The site’s vast collection of artefacts, some dating back to the 16th century, deeply influenced this work. Every object depicted in the print reflects items he encountered or references his experiences during the residency. The inclusion of flowers symbolizes the natural beauty of Ushaw’s gardens in summer. Overall, "Contemplation" is a collage that weaves together historical artefacts within a modern context, bridging past and present.
Booth 22
JAKE GARFIELD | THE BOXER, 2024
Jake Garfield is a London-based artist, working primarily with printmaking. His practice reflects on the nature of artifice, selfhood and the act of making.
The Boxer (2024) was made in response to Pierre Bonnard’s 1931 self-portrait Le Boxeur: portrait de l’artiste. The overall composition is based on Bonnard’s painting and the piece also features a small etching of the original as a ‘picture within a picture’ in the top-right corner - a pictorial device I often use in my woodcuts. This is the title piece from a series of works featuring figures wearing boxing gloves: in museums; fighting; or depicted in the act of making. The damask pattern in the background appears in many of the works in this series and the colour palette is also characteristic of my woodcuts.
Booth 7
Stewart TAYLOR | LOBARIA, 2024
Stewart began making monoprints documenting local trees shaped by climate and human impact: Monterey Pines introduced to the landscape, oaks and ash affected by deadly pathogens, fire-scarred Joshua Trees in the Mojave, and the lichen-draped veterans of Dartmoor’s rare temperate rainforests. Most works in the Tree Portraits series are composite gelliplate monoprints, built up through intricate masking, stencils and layered textures. Stewart is now recognised as a leading gelliplate practitioner, with his techniques featured in Printmaking Today (Summer 2024). His prints have been acquired by the Jyväskylä Art Museum (Finland) and held in private collections across the UK, USA and Europe. Sales from the series have raised over £4,000 for The Woodland Trust and Rewilding Britain
Booth 7
BELLA EASTON | GUARDIAN III, 2024
Bella Easton repurposes traditional printmaking techniques such as woodcut, copper plate etching and lithography within a materially expanded and spatial practice.
Guardian III belongs to a growing print series exploring mirrored structures, reflection, and the internal landscape. Combining hand-painted woodcut and lithography on Japanese Bunkoshi paper, each image is brushed with oil-based inks directly onto the block; a painterly process that echoes the Japanese mokuhanga tradition in its sensitivity to pressure and touch to achieve variation, luminosity, and atmosphere. Easton’s materials are deeply personal to her process, their tactile and responsive nature guiding the visual outcome. Developed from earlier architectural and domestic motifs, the imagery has evolved into abstract, shield-like forms that feel both protective and sentient. These works continue Easton’s exploration of traditional printmaking methods used in unconventional ways, creating meditative spaces between concealment and revelation, memory and transformation, where repetition becomes a quiet act of endurance.
Booth 12
Alistair Gow | The Palace of Art, 2025
Alistair Gow is fascinated with things that present potential: blank spaces, billboards, and pictures hanging on studio or walls and trees are recurring motifs. He creates artworks which invite questions - What is happening here? What could go there? Why has the artist valued this object? How has this been made?
The Palace of Art, follows a similar pattern to many of the artworks I have created over the last few years, which are inspired by the routines of moving around the city with my daughter. The subject of the print is a public sculpture in Glasgow that we would pass by on the way to a gymnastics class. The elephant means a lot to us, and in the making of the work, it became a way to explore many ideas of play, legacy, ecology, weight and Empire. In our current political climate, it can be difficult to engage in the complexity of things. Hopefully,
Alistair won the Boodle Hatfield Printmaking Prize in 2024
