Denis Whiteside
£500 Jacksons Most Outstanding Print Award
 
PENGUIN
 
PENGUIN
Screenprint
100 x152
March 2012

Screenprint in three parts. The classic Penguin paperback novel cover format is appropriated and represented as anonymous.

John Lynch
£500 GreatArt Most Outstanding New Print Media Award
 
Icon
 
Icon
Colour reduction relief giclee and flock
50x 50
March-May 2012

Multi media print with attention to tactile qualities of the print methods combining relief, digital and screen print flock, All work based around the concept of modern iconography. completed for final show of Multidisciplinary printmaking MA 2012.

All prints use vivid colours printed using the reduction method only using one relief block to create all the relief layers, digital photographic print and finally the faux velvet print of flocking.

edition of 6

Conceptual discription can be found here
Symbols in context http://jjlynch.org/journal-entries/

Ralph Kiggell
£200 John Purcell Paper Award
 
Roadside Hoarding (Day)
 
Roadside Hoarding (Day)
Water-based woodblock
60 x 60 cm
2008

One in a series of prints about industrial towers and landscapes. There is a tension, because we might assume that the slower archaic water-based hand printing technique used here might represent prettier subjects than this.

Ben Skea
£200 T N Lawrence Award
 
Half Light
 
Half Light
digital print on fine art paper (ed. 20)
80 x 53 cm
April 2012


Carl Rowe
£100 Screen Stretch Award
 
More is Law X64
 
More is Law X64
screen print
105cm x 135cm
September 2011

The titles More is Law X32 and More is Law X64 elude to Moore’s Law, which models the advancement of microprocessors and in consequence the exponential speed of computer processing. Viewed graphically, Moore’s law shows a doubling of processor capacity every 2 years (hence X32, X64 and so on), a trajectory that can be compared with increasing company profits and decreasing employment rates.

The screen prints More is Law X32 and More is Law X64 represent a visual metaphor for this socio/technological evolution. Each print depicts small group of people staring with intrigue and fascination at a subject. These heavily half-toned images are stills taken from Bert Haanstra’s 1966 film of Evoluon, a science museum funded by the Phillips electrical company in Eindhoven. The original subject that captured their attention in the Evoluon has been replaced with a tin can in one and a can opener in the other, each of which are superimposed respectively with X32 and X64 in bold red text. Innocent and open-minded fascination for a technological future becomes dislocated from its Modernist context and is confronted with a numbing provocation: to open the can. Whilst in some ways this remains enigmatic, it certainly suggests an unknown, perilous, potentially synthetic outcome.

Emma Prothero
12 months neo: plus 6 months neo:studio user membership
 
Flower
 
Flower
hand painted silver gelatin print
8x10 inches
may 2012

hand painted silver gelatin print

Ross Loveday
12 months neo:associate membership plus solo show
 
Dark Shadows
 
Dark Shadows
Drypoint / Carborundum
55 x 56 x 4
March 2012

Edition 5
£375 Unframed
£475 Framed

Susie Liddle
£250 Hot Bed Press voucher
 
Yesteryear IV       (4)
 
Yesteryear IV (4)
Cyanotype
42 x 36 x 2.5cms
2011

This is another from the series Yesteryear.Using sections of vintage 'girlie' photographs taken around the turn of the 20th century in a Parisian studio, I have created digital negatives and then physically altered them in an attempt to create not only a sense of time but also an essence of the sad and damaged lives these girls may well have lived. Deep framed in beech with antique white mount and Clearglass for high quality visibility.
Edition 1 of 10