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Here we'll keep you up to date with news of our design activities - but also with details of exhibitions, events and artists who we're being inspired by.

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Mark Hearld’s Platters April 19 2017

As part of the new work presented at this year's York Open Studios event, Mark Hearld has created a series of hand-decorated platters, a few of which are pictured here.

Emily Sutton and Mark Hearld's Open Studios, 104 The Mount, York YO24 1AR on 21st (6-9pm), 22nd (10am-6pm) and 23rd (11am-5pm) April 2017 and again on 29th (10am-6pm) and 30th (11am-5pm) April 2017.

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Sutton & Hearld at Home April 10 2017

Artists Emily Sutton and Mark Hearld will soon open their doors again as part of the 2017 York Open Studios event.

Running over the last two weekends of April, Emily will exhibit a selection of new paintings, drawings and prints while Mark has created a series of new mixed-media collages, limited edition prints, hand-decorated slipcast cockerels and painted platters.

Emily Sutton and Mark Hearld's Open Studios, 104 The Mount, York YO24 1AR on 21st (6-9pm), 22nd (10am-6pm) and 23rd (11am-5pm) April 2017 and again on 29th (10am-6pm) and 30th (11am-5pm) April 2017.

You might also like to view Mark and Emily's fabrics and wallpapers for St Jude's.

Wood Pigeon by Mark Hearld

Mark Hearld 'Wood Pigeon' mixed-media collage, 2017

Allotment with Cardoons by Emily Sutton

Emily Sutton 'Allotment with Cardoons' watercolour, 2017

Crows by Mark Hearld

Mark Hearld 'Crows' mixed-media collage, 2017

Swans on the Seine by Emily Sutton

Emily Sutton 'Swans on the Seine' watercolour, 2017

Cockerel by Mark Hearld

Mark Hearld 'Cockerel' slipcast and hand-decorated, 2017

Glass House Jardin des Plantes by Emily Sutton

Emily Sutton 'Glass House, Jardin des Plantes' watercolour, 2017

Mandarin Duck by Mark Hearld

Mark Hearld 'Mandarin Duck' mixed-media collage, 2017

Pont Neuf Finches by Emily Sutton

Emily Sutton 'Pont Neuf Finches' watercolour, 2017

A Printmaker’s Journey February 26 2017

Posted by Angie Lewin

I'm delighted to share news of a forthcoming exhibition that I have curated for Hampshire Cultural Trust, A Printmaker's Journey, which opens in Winchester on Saturday 11th March and then tours Hampshire until early November 2017.

A Printmaker's Journey includes work selected from a wide range of disciplines and periods which will lead the visitor through the inspirations and affinities which have influenced my journey as a printmaker and designer. Paintings, textiles, prints, posters and ceramics by artists and designers including Eric Ravilious, Edward Bawden, Mark Hearld, Alan Reynolds, Emily Sutton and Paul Morrison will be displayed alongside work from various stages of my career.

I'll be at The Gallery, Winchester Discovery Centre on and off throughout the opening day, Saturday 11th March. I hope that you might be able to visit. Find out more

For those of you further afield, over the next few months I'll share details of some of the works selected and their significance to me. Keep an eye on my Instagram and Facebook pages for updates.

A Printmaker's Journey runs from 11 March – 30 April 2017 at The Gallery, Winchester Discovery Centre then tours until early November 2017. Find out more

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Angie Lewin 'Sollas Sands' linocut, 2015

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Edward Bawden 'The Road to Thaxted' linocut, 1956

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Lizzie Farey 'Almost Spring' woven willow, 2017
(photograph by Shannon Tofts)

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Eric Ravilious King Edward VIII Coronation Mug, 1937 (originally designed in 1936)

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Angie Lewin 'Festival Mug' lithograph

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Emily Sutton 'Olive Cook's Settle' watercolour, 2013

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Edward Bawden 'Church and Dove' wallpaper, 1925

Sussex Modernism at Two Temple Place February 06 2017

Looking forward to visiting the latest exhibition at Two Temple Place in London where Sussex Modernism - Retreat and Rebellion has just opened.

Created by the Bulldog Trust in partnership with nine museums and galleries based in Sussex (including Ditchling Museum of Art + Craft, Charleston, De La Warr Pavillion, Towner Art Gallery and Pallant House Gallery) the exhibition examines why artists and writers were drawn to the rolling hills, seaside resorts and villages of Sussex in the first half of the 20th century, creating artistic communities whose innovations developed alongside political, sexual and domestic experimentation.

Curated by Dr Hope Wolf, Lecturer in British Modernist Literature and co-Director of the Centre for Modernist Studies at the University of Sussex, the exhibition runs until 23rd April 2017. Visit the Two Temple Place website for opening times.

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David Jones The Garden Enclosed, 1924
Oil paint on canvas © Tate, London 2015

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John Piper View of Chichester Cathedral from the Deanery, 1975
Ink, watercolour and crayon on paper © The Piper Estate / DACS 2016

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Eric Gill Icon (for Divine Lovers), 1923
Courtesy of the Ditchling Museum of Art + Craft

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Barnett Freedman January 19 2017

Posted by Angie Lewin

I'm currently curating an exhibition which will open at Winchester Discovery Centre on Saturday 11th March 2017. A Printmaker's Journey will then tour Hampshire until the end of November.

The exhibition will include work selected from a wide range of disciplines and periods which have in some way influenced my work as a printmaker and designer. Paintings, textiles, prints, posters and ceramics by artists and designers including Eric Ravilious, Edward Bawden, Alan Reynolds and Paul Morrison will be displayed alongside examples of my own work.

Full details of the exhibition will be announced soon - do subscribe to my newsletter if you'd like to find out more.

I'll be including two works by artist and illustrator Barnett Freedman, a contemporary of Bawden and Ravilious.

Over at Spitalfields Life, author David Buckman takes a look at the work of this prolific artist and illustrator...

"Barnett Freedman is among my top candidates for a blue plaque, as one of the most distinguished British artists to emerge from the East End. There was a 2006 campaign to get him one in at 25 Stanhope St, off the Euston Rd, where he lived early in his career, but English Heritage rejected him, along with four others as of “insufficient stature or historical significance” – an unjust decision exposed by the Camden New Journal. The artist and Camden resident David Gentleman was one among many who supported the plaque, writing “He was a very good and original artist whose work deserves to be remembered. He influenced me in the sense of his meticulous workmanship. He was a real master of it.” Read David Buckman's article in full

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A portrait of Barnett Freedman

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Advertisement for Shell, 1951.

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Barnett Freedman’s ‘Claudia’ typeface.

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Lithographs for ‘Oliver Twist,’ published by the Heritage Press in New York, 1939.

Barnett Freedman works courtesy Special Collections, Manchester Metropolitan University

Emergent Landscapes December 04 2016

Over the past couple of years we've had the pleasure of working with artist, writer, musician and cultural geographer Rob St. John on several projects. Rob and Tommy Perman contributed to our Random Spectacular No. 2 journal, discussing their Water of Life project and we've since collaborated on the Concrete Antenna 12" vinyl/print release and the Creative Edinburgh Awards shortlisted Score Tae The Toor book/CD.

Emergent Landscapes is a collaborative installation at Tate Modern Switch House, exploring the boundaries between art, geography and the Anthropocene. Between 9th-11th December 2016, Rob invites the public to participate in the creation of new visual and sonic sculptures that will continue to evolve beyond the Tate Exchange space.

From the layering of a soundscape echoing visitor contributions, reflections and perceptions to the collective construction of a cairn, piles of stones that historically act as markers of time and space, Emergent Landscapes will act as a beacon; marking the newly-built Switch House and re-situating its emergence within an ever-changing London landscape.

Once the installation period is over, the whole structure will then be transported to Hooke Park woodland in Dorset, where in collaboration with the Architectural Association and Common Ground charity, it will be made freely accessible to visitors and documented for years to come. Over months and years, the spores and seeds ‘painted’ onto the cairn materials will germinate and grow; to emerge, pattern and even destroy the structure created together.

On 10th December 2016 between 17.00 and 18.00 Rob will introduce the project with an artist's talk and on 11th December between 16.00 and 17.30 Rob will discuss the future of the project with writer, curator and artist Amy Cutler.

Find out more about the project and the free (but ticketed) talk and discussion.

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The Lost Watercolours of Edward Bawden November 06 2016

Widely admired today as an illustrator and printmaker, Edward Bawden (1903-89) is hardly a ‘forgotten artist’. Yet one aspect of his career has been neglected until now: his role in the 1930s as a critically-acclaimed modern painter.

The Lost Watercolours of Edward Bawden sets the record straight by bringing together the largest collection of the artist’s pre-war watercolours ever assembled. Most were originally exhibited at one or other of Bawden’s major solo shows – at the Zwemmer Gallery in 1933 and the Leicester Galleries five years later – exhibitions that impressed critics and delighted collectors. Continues below...

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It has taken three years to assemble this remarkable collection of pictures, many of which were, as the title of the book suggests, lost. The remarkable quest to find and identify Bawden’s pre-war watercolours is described by publisher Tim Mainstone in an amusing, informative essay, which forms the third part of this richly illustrated volume. James Russell, author of the popular series ‘Ravilious in Pictures’, contributes an introductory essay exploring Bawden’s life and career in the 1930s.

The watercolours themselves are grouped by exhibition, with additional sections of works from the mid-30s and from the decade’s end.

Find out more about The Lost Watercolours of Edward Bawden and purchase a copy from our St Jude's Prints website.

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Camera Ready 1983 October 25 2016

Matthew Rich, Master Printer at Jealous has just created Camera Ready 1983, a new nine colour screen print which painstakingly recreates a piece of rediscovered artwork from Matthew's time printing fly posters in Manchester for Factory Records and their Haçienda club. Matthew explains...

"I started screen printing in the early nineteen eighties at a Manchester print shop called Community Expression. I printed posters, stickers and t-shirts for local bands and clubs, political groups and the students' union. Our first premises was in a university building on Oxford Road and then I can remember 3 or 4 more places before we moved to a bigger shop called Lola Publicity on Claremont Road in Moss Side. 

I joined forces with the Manchester fly posting crew so as well as being poster printers for the Manchester music scene, we would pick up record company posters sent from London to the Piccadilly station Red Star depot. We would (not entirely legally) paste them all over town, sometimes travelling as far afield as Sheffield and Leeds. Continues below...

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We had a good relationship with local promoter Alan Wise, making posters for his acts the Fall, The Blue Orchids and Nico for the brief time she lived and worked in Manchester. But most of our work came from Factory Records, firstly making fly posters for the original Factory club (AKA the Russell or PSV Club) in Hulme and then, from 1982 onwards, gig posters for the brand new Fac 51, The Haçienda. 

Arriving at the club with a roll of freshly screen printed posters guaranteed free entry, strolling smugly past the queues and some cash in hand to spend at the bar. There were many memorable nights like Einsturzende Neubauten attacking the pillars holding up the roof with a jack hammer, Madonna's first ever show in the UK and William Burroughs on stage reading from his new book, 'The Place of Dead Roads'Continues below...

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Back in the printshop we set out the poster artwork with Letraset, Rubylith and Rotring pens. Shot negatives onto Lith film using a huge horizontal process camera - all brass hinges and ground glass screens - and hand printed onto MG poster paper with very smelly old solvent based inks. No health and safety back in the eighties! 

Many many years later I found this bit of poster artwork in a box in the attic. So many people of a certain age remember that era of the Manchester music scene with such fondness and a few suggested I do something with my bits and pieces of memorabilia. Continues below...

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I scanned the ancient artwork and dissected it layer by layer. The ageing off-white card of the artwork sheet. The palest blue lines (invisible to the camera) of the layout grid, some scribbled notes in pencil, a bit of Tippex covering a mistake and the matt black of the Letraset itself. We definitely ran out of letter Ys but that's fine, make a negative and print off as many new ones as you need.

There's a story here of my journey in screen printing from knocking out one colour posters on the cheapest stock to this nine colour, limited edition print in expensive Swiss water based inks on 100% cotton mould-made Somerset paper."

Find out more about Camera Ready 1983 over at Jealous Prints.