Over the last three months I have working on two new linocut prints: “Forest in Snow, Wales” (2024) and “Kafka in the Garden” (2025). As with all of the previous linocuts they went through extensive stages. First they were sketched out roughly. Then more detailed drawings in pencil were made. The next stage was the making of ink drawings to the exact scale of the lino tiles. These were then traced and the tracing applied in reverse to the tiles. This guide was followed closely except where I introduced changes. These were where I found a mistake, introduced a correction or adapted some element that would not have worked in the linocut. (Sometimes one draws a part that is too delicate to be cut in lino, which is quite a crude medium, especially compared to wood-engraving.) The plate was cut using gouges and knives.
Initial trial proofs indicate how the linocut will look and small changes can be made. These are all reductions (cutting away to make areas of white) because there is now way of replacing removed parts of the tile. Often, forms need careful finessing and areas that have been cut need to cleaned up with further cutting when they introduce unwanted speckling. This is done in the studio with a master printmaker, who is an expert in editioning. Using a large press and inking carefully, the printmaker can pull consistent impressions. One of these is then signed “BAT” (bon a tirer, “good to pull”) by the artist, which indicates the standard appearance. This is used as a guide by the printmaker when he or she produces the edition without the artist in attendance.
In addition to these two new prints, an old plate has been discovered in my archive. “K.” depicts Franz Kafka; it was cut in 2002 but never editioned. This has been produced in a special low-number edition, with only ten impressions being made. After printing, the plate will be destroyed, as will the other two. This prevents any reprinting and keeps the print run very small.
“Kafka in the Garden” (2025), , linocut on paper, plate 40.5 x 30.5 cm, Somerset paper 56 x 43 cm, Satogami paper 54.5 x 39 cm, edition of 50 (25 Somerset, 25 Satogami), each signed and numbered.
“Forest in Snow, Wales” (2024), linocut on paper, plate 30.5 x 40.5 cm, Somerset paper 43 x 56 cm, Satogami paper 39 x 54.5 cm, edition of 50 (25 Somerset, 25 Satogami), each signed and numbered.
“K.” (2002), linocut on paper, plate 15 x 12 cm, Zerkall paper 26.5 x 19 cm, Satogami 25.5 x 23.5 cm, edition of 10 (5 Zerkall, 5 Satogami), each signed and numbered.
These prints will be available from 1 March 2025 onwards and can be purchased exclusively via https://www.imperiumpress.org/merch/
Beautiful, thank you - I’ll look forward to purchasing them when they go on sale. Your image of the forest captures the beauty, but also the uneasiness and sense of foreboding, I’ve felt when I’m in a forest.
Getting lost in the forest - here in Australia getting ‘lost in the bush’ - is a central trope of horror. ‘A Forest’ by The Cure https://youtu.be/RGT4V6JmINA?si=H_AjO0iT6mUFaZUY really conveys a sense of this - have always loved this track.