Photography in Print
n this specially curated exhibition for the ACTINIC festival, Edinburgh Printmakers鈥� members take over the lower gallery space, displaying the diversity of photographic imagery and technology in contemporary printmaking.
Printmaking has always been one of the most adaptable mediums in the world of fine art. Varying from the early woodblock prints dating to before 220, printmaking has endured, and continues to evolve, as the most popular artistic method of image transfer. Within the contemporary field, the vast array of practises that fall under the umbrella term 鈥減rintmaking鈥� are driven by technologies developed outside of art practice, often re-appropriating equipment and techniques used within commercial and industrial contexts. The medium has advanced into the new age, expanding the boundaries of the printmaking concept.
Artists have embraced new digital and photographic technologies, whilst maintaining traditional techniques, pushing printmaking into an increasingly multimedia field, attracting practitioners with diverse backgrounds, skills and experties. The point of convergence for print and photography is potent and complex. A duality exists between these processes that is ripe for interrogation, and the significance of using these processes in tandem explores what it means to means to make a print, and what it means to construct a photograph.
Photography in Print, includes techniques such as photo-screen printing, photo-etching, photolithography and cyanotype, showcasing how artists create distinctive hand-printed work through merging photographic techniques and traditional printmaking.
Participating artists:
Aileen Grant, Aleksandra Kargul, Cat Outram, C茅cile Simonis, Christine Wylie, Jessica Crisp, Lawrence Nowosad, Leena Nammari, Nicola Weir, Paul Charlton, Paul Thompson, Rona MacLean, Shelagh Atkinson, Silvana McLean and Zuzanna Dominiak.
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n this specially curated exhibition for the ACTINIC festival, Edinburgh Printmakers鈥� members take over the lower gallery space, displaying the diversity of photographic imagery and technology in contemporary printmaking.
Printmaking has always been one of the most adaptable mediums in the world of fine art. Varying from the early woodblock prints dating to before 220, printmaking has endured, and continues to evolve, as the most popular artistic method of image transfer. Within the contemporary field, the vast array of practises that fall under the umbrella term 鈥減rintmaking鈥� are driven by technologies developed outside of art practice, often re-appropriating equipment and techniques used within commercial and industrial contexts. The medium has advanced into the new age, expanding the boundaries of the printmaking concept.
Artists have embraced new digital and photographic technologies, whilst maintaining traditional techniques, pushing printmaking into an increasingly multimedia field, attracting practitioners with diverse backgrounds, skills and experties. The point of convergence for print and photography is potent and complex. A duality exists between these processes that is ripe for interrogation, and the significance of using these processes in tandem explores what it means to means to make a print, and what it means to construct a photograph.
Photography in Print, includes techniques such as photo-screen printing, photo-etching, photolithography and cyanotype, showcasing how artists create distinctive hand-printed work through merging photographic techniques and traditional printmaking.
Participating artists:
Aileen Grant, Aleksandra Kargul, Cat Outram, C茅cile Simonis, Christine Wylie, Jessica Crisp, Lawrence Nowosad, Leena Nammari, Nicola Weir, Paul Charlton, Paul Thompson, Rona MacLean, Shelagh Atkinson, Silvana McLean and Zuzanna Dominiak.
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