Personal Statement

Printmaking in the “expanded field” has seen dynamic and challenging uses of print extending the boundaries of the practice. Performance Art (in its various guises) has formed part of this interdisciplinary expansion of printmaking.

For example:

  • Live ‘print’ events and ‘Happenings’
  • Interactive ‘live’ printmaking workshops
  • Travelling or portable print ‘machines’
  • Interdisciplinary/ collaborative projects (theatre and print/ dance and print/ sound and print)
  •  Use of the body and action to make marks in print etc.

… have all become a means of raising awareness of print-making processes as part of this wider desire to re-imagine and reignite interest in printmaking (Hyland and Joyce, 1997; Graham, 2004; Behrman, 2006; Huebsch, 2006, For relevant artists see list below*) .  As well as helping to raise printmaking’s profile, these methods are becoming a profound approach to conceptual, critical, philosophical and political discourses on contemporary life.

My own practice has continually explored the body as a means of image production since graduating in 2009. My current screen-printing process is set up to record minute shifts in bodily pressure and the large scale of the work deliberately exacerbates, makes strenuous and draws attention to the movements of a print-maker when printing. Since the advent of post-modernity, we have been faced with an increasingly performative and mediated culture which bears much critical reflection. The philosophical turn to practices of embodiment as a means to engage politically with the state/s of the body underpins much of my approach to making.




  • “perceptual experience and model of presence and engagement in the world.”
  • “phenomenology of movement, sensation, metaphor and emotional transmutation”
  • “inner sense of intuition or sensibility” [Kant (1978/1800)]
  • comprised of “five external senses plus proprioception (our sense of being in a body and orientated in space)
  • evidenced in  “practice [which] includes everything that falls under Mauss’s (1950) classic notion of techniques of the body – swimming, dancing, washing, ritual breathing in meditation, posture […] in which the body is at once tool, agent and object.”
Adapted from: Csordas, T. J (1994) Introduction: the body as representation and being-in- the-world. In: Csordas, T. J. (ed.) Embodiment and Experience: The Existential Ground of Culture and Self. Cambridge: Cambridge University Press, p.4-16.


I am currently compiling research into printmaking and performance art practices as there is little to no academic literature available. I have conducted several interviews with practitioners to date, presented at the ‘Redefining Print’ symposium at Double Elephant Print Workshop in Exeter and will be writing my first article on the subject for Printmaking Today in the coming months.  If you would like to be a research participant or know someone who you think I should contact then please let me know through the contact page on this website or by emailing:

These details can also be used for all general enquiries, commissions, residencies etc. 

*Artists/ Art events using print and performance:

  • Nathaniel Stern ‘Compressionism’ and ‘Rippling Images’,
  • Pilar Nadal ‘Tired Press’,
  • Ann Hamilton ‘Paper Chorus’,
  • Darren Van De Merwe ‘The Printer’s Grey,
  • Sofia Larroca and Ana Wahren Brie ‘SA Oficina de Estampas’,
  • Scott Kolbo and Lance Sinnema ‘Escalation Final’,
  • Chris Dunne & Phil Eastwood ‘Performance print situation’,
  • Sarah Bodman ‘An exercise for Kurt Johannessen’,
  • The San Francisco Center For The Book ‘Roadworks’, a Steamroller Prints And Street Fair,
  • Helen Brown, Ann D’Arcy Hughes, Brenda Harthill, Bernard Lodge, Hugh Ribbans and Jane Sampson ‘Roadroller’ Brighton Art Fair,
  • Joel Gailer and Michael Meneghetti ‘PERFORMA PRINT’
  • Kyle Durrie ‘Moveable Type’
  • Maurice Carlin ‘Performance Publishing’


One thought on “Personal Statement

  1. Hello this statement puts me in mind of a body of photographic work I completed titled ‘Spaces and Gaps’ it was documenting just that. My own angle was to document the spaces left behind by the ever changing face of the inner city, in my case I photographed in and around the Roath area of Cardiff such sites as say a closed fuel station due for change of use of land , these areas spring up from time and sit unused some for long periods where others appear only momentarily before they are transformed.
    I found Elizabeth Tomos and her project to be most appealing.

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