Betsy Tyler Bell
Victoria Ascanio was born and brought up in Spain. She studied Fine Arts at Madrid University before moving to England. There she studied Printmaking at The Ruskin School of Art in Oxford, and was a Founder Member of the Oxford Printmakers Cooperative Association.
She has taken part in many international fairs and exhibitions throughout Europe and in the U.S.A. Her work is in many private and public collections. Her most recent Solo Exhibition was in Galeria Gaudi, Madrid in 2008.
Work currently available:
GALERIA GAUDI 2004 – Current
ARTICHOKE 2013 - Current
Londonart.co.uk 2014 – Current
FOR ARTS SAKE 2015 – Current
Thediscerner.co.uk 2016 – Current
Solo Exhibition at ARTIFACT GALLERY, 84 Orchard St., New York, NY 10002, USA: 8th – 27th April 2020
Painter, printmaker, papermaker, lives and works in Oxford.
Foundation studies in art and design; Oxford Brookes University 1984
BA fine Art; Ruskin School of Drawing and Fine Art, Oxford University 1995-8. MA Oxon 1992
Founder and director of Art in Situ France 2000 -2011
Participation in International Artists residencies in
France England and Romania 1992- 2009
Artist in residence University Washington and Lee, Virginia USA
Exhibited in England,USA, Japan, Portugal, France, Germany.2000 -2014
Current printwork work ‘Nomad ‘ a series of etchings, is a collaboration with Aquarium Compagnie, France.
I am interested in the beginning of things from a geological and archaeological point of view and how we still make things from natural materials. A touch of imagination in my images replace what we do not yet know of the past for changes can be slow and over many decades, or very sudden as with earthquakes or volcanic eruptions and we are carried along with it all. Art in all its varieties is a way of being in contact with our world.
Initially I trained at Hornsey College of Art, then went into teaching and eventually graduated from Buckinghamshire Chilterns University College with a B.A. Hons in Fine Art.
The printing techniques I use now in order to achieve differing qualities and effects, include copper-plate etching, mono, linocut, and dry-point.
The subject matter, figurative and narrative, is inspired by the incidents that occur in everyday life.
Catriona Brodribb trained at the Ruskin School of Drawing and Wimbledon School of Art. She works part time at Oxford Printmakers Co-operative as technician-manager.
The job involves getting to grips with the many aspects of printmaking, and working with a huge range of age groups and people.
Catriona’s own print experience oscillates between using the processes of etching, monoprinting, screenprinting and woodcut. All works start from a drawing, or more rarely a photograph; a process is then selected that is deemed to work best for that image. Source material varies: it might be taken from within a landscape, for example structures such as: pylons, power stations, oast houses, tractors and Tors; or domestic items such as jugs, vegetables, and shoes; artefacts from archaeological excavations, as in Roman cobbled floors and skeletal remains, or text based themes and symbols, such as alphabets, & and £ signs.
I am a retired professor of English Literature at Oxford.
My books are mainly about literature (Milton, Donne, Dickens, Thackeray, William Golding) or cultural history and theory (The Intellectuals and the Masses and What Good Are The Arts?). I’ve also written a memoir, The Unexpected Professor (Faber & Faber, 2014).
I was encouraged to join OPC and learn to print by Irvine Loudon, whose work I greatly admire. Printing for me is always an adventure, because it uses a different part of the brain from words, which usually occupy me.
Isabel combines her full time job as an architect and sustainability expert with her art practice which includes watercolour and printing. She works predominantly from sketches done in situ.
Encouraged by a printmaker friend, she started experimenting with monotype and collagraph techniques in 2009. In 2013, following an etching course, she joined OPC as an Associate Member.
As an artist, Isabel likes to work in colour and experiment with textures and she finds that collagraph printing allows her tremendous freedom. Using other techniques, like soft ground etching, she explores transferring the line quality of her sketches into the plate.
In 1980 I completed my foundation art course at Oxford Polytechnic. The following year I attended Bristol where I gained a BA Hon's degree in Fine Art. Since then I have continued painting, drawing and printmaking. I taught life drawing at the East Oxford Community Centre and I attended St Gregory's School helping with the A' Level art course.
I have shown my work at the Old Fire Station and the Zoology Department at Oxford University. I completed several modules in Art History at the Oxford University Continuing Department of Education
I am a member of the Oxford Art Society and the Oxford Printmakers Co Op. And with both groups I have shown my artwork on a regular bases. I have also shown my Artwork during Art Weeks in different venues around Oxford. Including the Museum of Oxford, the Christadelpian Hall and at the John Radcliffe Hospital. I have taken part in group exhibitions at Art Jericho and the Cornerstone Gallery, Didcot, and the New brewery Arts Centre.
I always draw from life using the environment around me as inspiration. The subject of these studies can be any thing from Landscape and studies of Oxford to life drawing and Portraits. And from these drawings I produce Etchings and Paintings.
My first woodcuts were about canal boats. Subsequently I worked on bridges. Next I worked on drawings and woodcuts of the Ducklington bellringers.
My latest drawings have been of dancers choreographing new works and although it's easier to convey a sense of movement in a quick medium I have experimented to see what I can do in woodcuts.
It is a lot more difficult to create figures than hard objects in woodcut as the cuts go along the grain and so cuts across the grain can often result in the wood breaking off and spoiling the image.
I love the excitement of the relief process as the layers of colour require imaginative thinking before the end result is reached.
I was a primary school teacher for 28 years during which time I taught many aspects of art with the children. On my retirement I took up Calligraphy, and developed a passion for lettering.
I am a member of Oxford Scribes, the Society of Scribes and Illuminators, and the Calligraphy and Lettering Arts Society.
I came to printing relatively recently, and endeavour to combine lettering with printing. My printing experience is mostly linocut, with some collagraph.
Since joining the Oxford Printmakers Co-Operative I have been able to broaden my experience considerably. I think printmaking is winning over the calligraphy now, but don't tell my fellow scribes!
I have lived in Surrey, Lincolnshire, Suffolk, Ghana, Malta, Germany, and Wales, but am very happily settled in Oxfordshire now.
I am a painter, designer, jeweller and printmaker.
I grew up in Oxford and originally trained as a textile designer.
I spend my days painting seascapes, still-lifes and flowers and making silver jewellery. In 2010 I won The People's Choice Award for my painting of the Didcot Towers called "You'll miss us when we're gone!" Following that success I began to paint local landscapes, especially Wittenham Clumps. More recently I took a course with the Oxford Printmakers and have been developing my printmaking skills. There is so much to learn and I absolutely love it.
It is such a pleasure to be involved with OPC and the work that goes on in the workshops is endlessly inspiring and the people there have such a vast knowledge and generous spirit.
You can find a small selection of my work at www.charliedaviesdesigns.co.uk
While living and working in London, I studied printmaking at The City Lit, and later, Morley College, where I was able to experiment with a wide variety of techniques. Since retiring and moving to Oxford in 2012, I have joined Oxford Printmakers.
I use a range of relief printing methods, including etching, linocut and collograph. Inspiration comes mostly from the natural environment, with buildings a second source of interest. I am always looking for the essential character of the subject, whether this is expressed in a naturalistic or a more abstract manner, exploring aspects of form and pattern.
I have previously exhibited with the Printmakers Council, and at the Morley Gallery. I am also a member of the Oxford Art Society.
Helen Ganly is a multidisciplinary artist using a variety of different media and working on different scales from tiny handmade objects to large installations in ruined castles. Although the themes which interest her have changed over the years some remain constant like the natural world. People as individuals or within society have often provided inspiration. Drawing informs her work.
She discovered printmaking while at the Slade (1958-62) but after helping dig up the parquet floor in the Christadelphian Hall in 1976, and joining the OPC as a founder member, she was able to explore printmaking more thoroughly and has continued to this day.
She has worked and exhibited in many different countries and her work is in private and public collections. She has taught for ten years at The Ruskin School of Fine Art and for ten years in the School of Education at Oxford Brookes University. In 2000 she was given a Millennium Artists Award and became the first Artist-in-Residence at the Ashmolean Museum in Oxford.
I graduated from Wimbledon Art School and Brighton College of Art early in the 1960’s and have taught Art and Craft for thirty years.
I have been a member of Oxford Art Society and joined the Oxford Printmakers’ Co-Operative in the late 1990’s, regularly exhibiting in their group exhibitions and have also attended several printmaking workshops.
On leaving teaching I continued painting and also took up Screen Printing which I found an exciting medium with similar effects possible to the Lithographs I had produced earlier at Wimbledon. These can be produced without the image being passed through the rollers of a heavy press. My interest is in architectural and organic structures as well as water with its vessels and reflections that have been an inspiration for many subjects seen on visits to Europe, Istanbul, Australia and parts of N. America,
I produce my screen prints in my studio in Wallingford where I have taken part in Oxford Artweeks but I use OPC’s workshop equipment and facilities to prepare and clean my screens, an essential part of the screen printing process.
Keith Isaacson originally studied painting at the City Literary Institute in London working principally in acrylics which were mostly abstract.
He particularly likes the effects produced by printing and experiments with shape, form and texture. In addition to producing etchings and collographs he has developed an interest in stone lithography. He studied this originally at the print workshop in Edinburgh and more recently at the Artichoke studio in London. As a result of his enthusiasm for the technique there has been a renewed interest in the medium at the Oxford Printmakers and he has arranged for a number of courses in lithography to be given there.
His paintings and prints have been exhibited in Oxford and in several exhibitions in London including the Mall Galleries.
He lives in Newbury and when not printing he enjoys repairing clocks and is an associate member of the British Horological institute.
Images can convey bold and subtle messages. Printmaking offers me many possibilities for a variety of expressive modes. I delight in the repertoire each technique offers – sometimes the line takes the lead, and sometimes colours or tonal variations dominate. I was trained in Mannheim/Germany at the College for Graphic Art and Design some thirty years ago and have worked in the publishing industry, employing conceptual and typographical skill sets to a vast range of printed publications. Now I concentrate on creating artwork. My images are my attempt to offer the viewer interpretations of how I experience people, places, moments and sensations. I hope to stimulate reflection, leave room for thought and perhaps create dialogue too.
Sally Levell has been an OPC member since 2013. Before coming to live in Oxford I worked in Print studios in Rotterdam for over a decade. I focus on zinc-plate rather than copper-plate etching as I like to work at a reasonably large scale and I love textures and applying different techniques on the one plate. I feel that this style suits my subject matter. I like to give my own interpretation of subjects which are not only beautiful but interesting from either a historical or a scientific perspective such as the Romanesque Archway in Iffley.
For my subject matter I look to the English landscape. Particularly that which is around me in West Oxfordshire. The paths that I walk, the woods, rivers, field patterns, hedgerows and old stone walls. Houses, isolated in the landscape. Abandoned buildings and sheds, together with their clutter of what has been lost or left behind.
Lonely places with an atmosphere all their own.
A member of Oxford Printmakers Co-operative since 2009, Kathrin Lüddecke has a varied portfolio of etchings. Recently, she has been exploring screenprinting as a new medium.
A keen draughtsperson, Kat enjoys exploring the possibilities of line, tone and texture that etching affords her. She draws inspiration from places both close to home and further afield, based on travels actual and imaginary. She also loves the natural world and depicting its beauties, which can be found in the smallest things.
Her screenprints tend to be more colourful and often abstract. Here, Kat is interested in exploiting the effects of overlaying different colours, in exploring the interplay of different shapes with each other and in finding ways to convey complex ideas in seemingly simple visual ways.
I’ve always loved bold shapes and overlaid colours and was inspired a long time ago by Edward Bawden, Cyril Power,John Piper and the Grosvenor School. The Shell guides to Britain and early travel posters always caught my eye. I think it was the subtle use of colour overlaid to create shadow and new shapes that intrigued me.
This is probably the reason why I am more heavily involved with lino cutting that other printmaking methods. I love the feeling of cutting away the lino…. the way the tools glide through the surface with a bit of resistance!
My subject matter is taken from the natural world around me. I have always loved landscapes and skyscapes and, living in the Chilterns gives me the opportunity to capture views and colours, shapes and fleeting light even from my window.
I was born in London and studied illustration at Ealing School of Art before moving to Oxford in 1978.
Having previously worked as an illustrator, I took up printmaking 17 years ago and now specialise in copper plate etching. I love the challenges that are created in printmaking. Using the medium of etching enables me to achieve both great strength of line and fine line detail. This, combined with aquatint, creates a range of tone from black to very delicate areas giving huge scope in making my prints. I find inspiration from travels both in the UK and abroad and also enjoy making images of animals and birds. When making my prints my aim is to evoke the atmosphere of the place that inspires me or the character of the animals I am portraying.
I have completed a range of commissions: the biggest being a 42 plate etching for the Oxford Radcliffe Hospital Trust depicting the life and architecture of the four hospitals in the trust.
I have work in the collection of the Ashmolean Museum, Oxford; Guy’s and St. Thomas’ Hospital, London and The Oxford Radcliffe Hospital Trust.
I am a member of Oxford Printmakers, Oxford Art Society and West Oxford Arts. I regularly run printmaking workshops.
I have drawn, painted and created in paper since my childhood and attended numerous recreational art courses as an adult. I have B.A Hons in Graphic Design and worked within the commercial sector. I subsequently freelanced which allowed me to share my time more effectively between work, family commitments and care of our horses, sheep and the occasional aged dairy cow.
I have only recently become an associate member of the Oxford Printmakers Cooperative and now have the opportunity to create solely for my own enjoyment. My work reflects my love of the countryside, wildlife and colour.
Morna has been a member of the Oxford Printmakers for about twenty years.
She studied Fine Art at St Martin’s School of Art in the early 1970s and went on to complete an Art Teaching Certificate at Sussex University before moving to Oxford to teach in one of the City’s upper schools. Since then she has worked in adult education and art residencies throughout Oxfordshire.
Her etchings develop from drawings made in the landscape.
She uses copper for its clean lines and good colour printing, sometimes combining two plates to create overlap and contrasts of colour.
She works at the Oxford Printmakers as a printmaker, teacher, technician and administrator.
She exhibits nationally on a regular basis.
Ann grew up in Norfolk, a place renowned for its flat landscape and big skies. She took an art foundation course at Great Yarmouth on the East Anglian coast followed by a Fine Art degree at Trent Polytechnic in Nottingham, specialising in Painting and Print making.
After this she moved around, working her way further and further south until she ended up in Oxfordshire
Her work is mostly inspired by her life in and around the Goring gap. She uses a variety of print making techniques, and her reference is taken from drawings, photographs and memories. She will often emphasise the seemingly insignificant or small things, sometimes giving them new and ambiguous meaning.
Print making often produces surprises which take projects off in a new direction, something Ann both enjoys and embraces.
She has a studio near Wallingford, Oxfordshire. Visitors are welcome by appointment.
I’ve always liked screen-prints – though I don’t exactly know why! I think it’s something to do with the flatness and the precision.
I originally did a short evening class at Putney School of Art in the late 1970’s and then bought a screen and inks and worked at home producing images by painting directly on to the screen, or make complex paper cut-outs.
Since I retired in 2009, I’ve renewed my interest, and spurred on by seeing a couple of exhibitions of Andy Warhol’s screen-prints, I did workshops at the Print Club in Dalston and at Oxford Printmaker’s Co-op. These courses introduced me to the use of photographic techniques, and I have spent the past year refining my skills, and finding what images work and which don’t.
I am now using photoshop to manipulate, blur and simplify my own photographs and have recently started on a series of ‘Iconic buildings.
I was born in Oxford but currently live in Wiltshire, near the Marlborough Downs. I studied graphic design at Nene College, Northampton (now part of the University of Northampton) and worked as a graphic designer before turning to illustration in 1988. During my career I have illustrated for books and magazines, and design projects such as packaging and brand identities.
As a printmaker, I immediately knew I had to explore the natural world as my subject matter and so embarked on a series of linocuts and screenprints with this theme, often utilising a love of bright colours! My favourite subjects are monkeys and primates due to their quirky personalities and extraordinary variety.
My work has been selected twice for the Royal Academy Summer Exhibition and I have also exhibited with The Society of Wildlife Artists at the Mall Galleries and in the National Original Print Exhibition held at the Bankside Gallery in London.
I am interested in the idea of line and texture being combined to evoke aspects and rhythms found in nature and man made structures. I try to distil my response to the essence of things. I am always aware of the fragility and transient quality of a moment in time. I equate line to a piece of thread interconnecting, flowing, easily broken, lost and found. The built-up of consecutive lines have a density and rhythm which can be fragile, flowing or appear like layers or strata.
I have been a practicing artist for a number of years, exhibiting regularly. I worked as head of Printmaking and Artist in Residence at the South Hill Park Arts Centre for six years. As well as running the department, I participated in many art projects as artist in the community and collaborated with other artists across many disciplines leading to several exhibitions and performances at the centre (group and solo).
I joined the Oxford Printmakers Co-op and exhibit regularly with the group in the Oxford area including: Christ Church Gallery, Oxfordshire Museum, Sanders Gallery, Hereford Museum, Reading Museum, O3 Gallery etc.
I won the best 2D award at the Newbury Arts Festival which resulted in a solo exhibition. Other Exhibitions include: Fairfield’s Art Centre, International Women’s week, Modern Artists Gallery, Affordable Arts Fair London from 2002 to 2017 and Affordable Art Fair Bristol 2015 to 2016.
Trained at the Central School of Art and Design, London and at Bristol University.
The subjects of my prints vary between landscapes and more urban settings, sometimes including people to add a sense of scale and narrative.
I usually start with drawings done on site which are then refined to make use of what I consider to be the most important elements.
Linocuts encourage a selective process that lends itself to strong, graphic design. and the use of bold lines and flat areas of colour. This results in a decorative quality that I enjoy. I show in galleries and Art Fairs, recently at Bankside Gallery, London the Affordable Art Fair in Battersea, West Dean and Art in Action.
I also teach linocut and woodcut, last summer at Art in Action and from my own workshop.
I am a member of the Oxford Printmakers Cooperative, and the Oxford Art Society.
The Christadelphian Church Hall,
Enquiries: 01865 726472
Open and staffed part time with technicians:
Catriona Brodribb or Morna Rhys:
Mondays 4–8 pm,
Tuesdays 10.30–6.30 pm.