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beanwave_editions
James Bristow
Expressive geometric abstraction
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Artistic Intelligence - 27-31 May, Fitzrovia
John Ruskin Prize 2026
MK Calling @mk_gallery
@ingdiscerningeye 2022
I am pleased to announce that my print WE (flow) II has been shortlisted for the @fendittongallery Contemporary Printmaking Prize 2026 and will be exhibited at the gallery from 23rd May - 14th June.
The artists in the exhibition were selected from over 500 entries to the prize and present a compelling showcase of the creativity, technical expertise and ingenuity of contemporary printmakers. All shortlisted works are for sale. For early access to the catalogue, contact the gallery at: info@fendittongallery.com
The overall winner will be selected in person at the gallery and announced on Thursday 21st May at the opening event.
Exhibition dates: 23rd May - 14th June 2026
Weekends: 10am - 5pm
Weekdays: by appointment
Fen Ditton Gallery, 23 High Street, Fen Ditton, Cambridge CB5 8ST
For more information, visit fendittongallery.com
...
WE (flow) II
2025, screenprint on paper
80 x 100 cm
Image 2 shows WE (flow) II
Image 4 shows WE (flow) I & II
...
#fdgprintprize26 #fendittongallery #contemporaryprintmakingprize #collectprints
I am pleased to announce that my print WE (flow) II has been shortlisted for the @fendittongallery Contemporary Printmaking Prize 2026 and will be exhibited at the gallery from 23rd May - 14th June.
The artists in the exhibition were selected from over 500 entries to the prize and present a compelling showcase of the creativity, technical expertise and ingenuity of contemporary printmakers. All shortlisted works are for sale. For early access to the catalogue, contact the gallery at: info@fendittongallery.com
The overall winner will be selected in person at the gallery and announced on Thursday 21st May at the opening event.
Exhibition dates: 23rd May - 14th June 2026
Weekends: 10am - 5pm
Weekdays: by appointment
Fen Ditton Gallery, 23 High Street, Fen Ditton, Cambridge CB5 8ST
For more information, visit fendittongallery.com
...
WE (flow) II
2025, screenprint on paper
80 x 100 cm
Image 2 shows WE (flow) II
Image 4 shows WE (flow) I & II
...
#fdgprintprize26 #fendittongallery #contemporaryprintmakingprize #collectprints
I am pleased to announce that my print WE (flow) II has been shortlisted for the @fendittongallery Contemporary Printmaking Prize 2026 and will be exhibited at the gallery from 23rd May - 14th June.
The artists in the exhibition were selected from over 500 entries to the prize and present a compelling showcase of the creativity, technical expertise and ingenuity of contemporary printmakers. All shortlisted works are for sale. For early access to the catalogue, contact the gallery at: info@fendittongallery.com
The overall winner will be selected in person at the gallery and announced on Thursday 21st May at the opening event.
Exhibition dates: 23rd May - 14th June 2026
Weekends: 10am - 5pm
Weekdays: by appointment
Fen Ditton Gallery, 23 High Street, Fen Ditton, Cambridge CB5 8ST
For more information, visit fendittongallery.com
...
WE (flow) II
2025, screenprint on paper
80 x 100 cm
Image 2 shows WE (flow) II
Image 4 shows WE (flow) I & II
...
#fdgprintprize26 #fendittongallery #contemporaryprintmakingprize #collectprints
I am pleased to announce that my print WE (flow) II has been shortlisted for the @fendittongallery Contemporary Printmaking Prize 2026 and will be exhibited at the gallery from 23rd May - 14th June.
The artists in the exhibition were selected from over 500 entries to the prize and present a compelling showcase of the creativity, technical expertise and ingenuity of contemporary printmakers. All shortlisted works are for sale. For early access to the catalogue, contact the gallery at: info@fendittongallery.com
The overall winner will be selected in person at the gallery and announced on Thursday 21st May at the opening event.
Exhibition dates: 23rd May - 14th June 2026
Weekends: 10am - 5pm
Weekdays: by appointment
Fen Ditton Gallery, 23 High Street, Fen Ditton, Cambridge CB5 8ST
For more information, visit fendittongallery.com
...
WE (flow) II
2025, screenprint on paper
80 x 100 cm
Image 2 shows WE (flow) II
Image 4 shows WE (flow) I & II
...
#fdgprintprize26 #fendittongallery #contemporaryprintmakingprize #collectprints
I am pleased to announce that my print WE (flow) II has been shortlisted for the @fendittongallery Contemporary Printmaking Prize 2026 and will be exhibited at the gallery from 23rd May - 14th June.
The artists in the exhibition were selected from over 500 entries to the prize and present a compelling showcase of the creativity, technical expertise and ingenuity of contemporary printmakers. All shortlisted works are for sale. For early access to the catalogue, contact the gallery at: info@fendittongallery.com
The overall winner will be selected in person at the gallery and announced on Thursday 21st May at the opening event.
Exhibition dates: 23rd May - 14th June 2026
Weekends: 10am - 5pm
Weekdays: by appointment
Fen Ditton Gallery, 23 High Street, Fen Ditton, Cambridge CB5 8ST
For more information, visit fendittongallery.com
...
WE (flow) II
2025, screenprint on paper
80 x 100 cm
Image 2 shows WE (flow) II
Image 4 shows WE (flow) I & II
...
#fdgprintprize26 #fendittongallery #contemporaryprintmakingprize #collectprints
Working Class Hero?
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
(detail)
...
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
Working Class Hero?
(detail)
...
2026
Assemblage: screenprint on paper, antique clocking-in card holder
37 x 90 x 7 cm
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #abstractexpressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #abstractexpressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #abstractexpressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #abstractexpressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #abstractexpressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #abstractexpressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #abstractexpressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #abstractexpressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #abstractexpressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #expressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #expressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #expressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #expressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #expressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #expressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #expressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #expressionism
...
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm (45 x 64cm ea)
2026
...
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
...
#contemporaryprintmaking #monoprint #monotype #expressionism
James Bristow is a British artist working from rural Northamptonshire. His practice centers on geometric abstraction developed through silkscreen printmaking, where repetition, overlay, and chance operate as structuring forces.
Guided by the Stoic phrase attributed to Seneca, “we are waves of the same sea,” Bristow reflects on division and interdependence through a visual language of continuity. Process plays a decisive role: each pull of ink resists fixity, allowing contingency to interrupt intention and generate variations within repetition.
WE (flow) I (2025) is constructed from multiple screenprints of a recurring pattern, layered to form a field of undulating movement. Printed on newsprint, the surface curls and shifts in response to ink and handling, introducing a subtle three-dimensionality. Imperfection is retained as material evidence of process, while the accumulation of differences is held in visual cohesion.
Bristow approaches printmaking as an event rather than an image, where rhythm and repetition articulate shared structure within variation.
Bristow has exhibited at ING Discerning Eye, MK Gallery, Woolwich Contemporary Print Fair, the Royal Society of Painter-Printmakers, and the Royal Cambrian Academy of Art.
Further information on Henki Art Prize artists is available via the link in bio.
#jamesbristow #screenprint #abstractprint #materialprocess #henkiartprize henkiart
James Bristow is a British artist working from rural Northamptonshire. His practice centers on geometric abstraction developed through silkscreen printmaking, where repetition, overlay, and chance operate as structuring forces.
Guided by the Stoic phrase attributed to Seneca, “we are waves of the same sea,” Bristow reflects on division and interdependence through a visual language of continuity. Process plays a decisive role: each pull of ink resists fixity, allowing contingency to interrupt intention and generate variations within repetition.
WE (flow) I (2025) is constructed from multiple screenprints of a recurring pattern, layered to form a field of undulating movement. Printed on newsprint, the surface curls and shifts in response to ink and handling, introducing a subtle three-dimensionality. Imperfection is retained as material evidence of process, while the accumulation of differences is held in visual cohesion.
Bristow approaches printmaking as an event rather than an image, where rhythm and repetition articulate shared structure within variation.
Bristow has exhibited at ING Discerning Eye, MK Gallery, Woolwich Contemporary Print Fair, the Royal Society of Painter-Printmakers, and the Royal Cambrian Academy of Art.
Further information on Henki Art Prize artists is available via the link in bio.
#jamesbristow #screenprint #abstractprint #materialprocess #henkiartprize henkiart
James Bristow is a British artist working from rural Northamptonshire. His practice centers on geometric abstraction developed through silkscreen printmaking, where repetition, overlay, and chance operate as structuring forces.
Guided by the Stoic phrase attributed to Seneca, “we are waves of the same sea,” Bristow reflects on division and interdependence through a visual language of continuity. Process plays a decisive role: each pull of ink resists fixity, allowing contingency to interrupt intention and generate variations within repetition.
WE (flow) I (2025) is constructed from multiple screenprints of a recurring pattern, layered to form a field of undulating movement. Printed on newsprint, the surface curls and shifts in response to ink and handling, introducing a subtle three-dimensionality. Imperfection is retained as material evidence of process, while the accumulation of differences is held in visual cohesion.
Bristow approaches printmaking as an event rather than an image, where rhythm and repetition articulate shared structure within variation.
Bristow has exhibited at ING Discerning Eye, MK Gallery, Woolwich Contemporary Print Fair, the Royal Society of Painter-Printmakers, and the Royal Cambrian Academy of Art.
Further information on Henki Art Prize artists is available via the link in bio.
#jamesbristow #screenprint #abstractprint #materialprocess #henkiartprize henkiart
---
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm
2026
---
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
---
#contemporaryprintmaking #monoprint #monotype #delphianopencall2026 @delphiangallery
---
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm
2026
---
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
---
#contemporaryprintmaking #monoprint #monotype #delphianopencall2026 @delphiangallery
---
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm
2026
---
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
---
#contemporaryprintmaking #monoprint #monotype #delphianopencall2026 @delphiangallery
---
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm
2026
---
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
---
#contemporaryprintmaking #monoprint #monotype #delphianopencall2026 @delphiangallery
---
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm
2026
---
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
---
#contemporaryprintmaking #monoprint #monotype #delphianopencall2026 @delphiangallery
---
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm
2026
---
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
---
#contemporaryprintmaking #monoprint #monotype #delphianopencall2026 @delphiangallery
---
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm
2026
---
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
---
#contemporaryprintmaking #monoprint #monotype #delphianopencall2026 @delphiangallery
---
I'd like to speak to the manager please
Monoprints on paper, polyptych
135 x 128cm
2026
---
Taking a second-hand damaged silkscreen, I roughly cleaned its degraded remains to a point where it would leave an abstract impression that felt right (the working title was 'Everything's fcuked').
Screenprinted using a process similar to monoprinting in applying different colours of ink directly onto the screen’s mesh, but instead of a single pull across the screen I pull a smaller squeegee multiple times in different directions. The spontaneity and unpredictable nature of this process is akin to an expressionist style of screenprinting.
These six prints are presented as a polyptych, reflecting the idea that the essence of suffering is not inherent in a single event but comes from repetition.
---
#contemporaryprintmaking #monoprint #monotype #delphianopencall2026 @delphiangallery
---
I'd like to speak to the manager please (part II of VI)
Monoprint on paper
45 x 64cm
2026
---
Part of a polyptch, each print using the same fcuked up screen, every print unique. More to follow once photographed...
---
I'd like to speak to the manager please (part II of VI)
Monoprint on paper
45 x 64cm
2026
---
Part of a polyptch, each print using the same fcuked up screen, every print unique. More to follow once photographed...
The John Ruskin Prize Exhibition continues until Saturday 21 February 2026. It's been an absolute pleasure to be selected amongst a superb variety of work.
Open Wednesdays-Sundays
11am-5pm mid week, 10am-5pm weekends
Trinity Buoy Wharf, London, E14 0JW @TrinityBuoyWharf
---
WE (float on)
Screenprint on tulle
150 x 170cm
2025
---
The John Ruskin Prize showcases talent in all media, encouraging interdisciplinary works responding to this year’s theme, Patience in Looking, Truth in Making. This year's judges are Julian Wild @julianwildsculpture
, Victoria Pomery, Neal Shasore @nshasore, Mary Evans @maryevansartist and Nichola Johnson. Out of almost 4,000 entries, 91 artworks by 82 creatives have been shortlisted for the exhibition.
“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy and religion, all in one.”
— John Ruskin, Modern Painters, Volume III, Part IV (1856)
#comtemporaryprintmaking #geometricabstraction #textilesart #ruskinprize @TheBigDraw @ParkerHarrisCo
The John Ruskin Prize Exhibition continues until Saturday 21 February 2026. It's been an absolute pleasure to be selected amongst a superb variety of work.
Open Wednesdays-Sundays
11am-5pm mid week, 10am-5pm weekends
Trinity Buoy Wharf, London, E14 0JW @TrinityBuoyWharf
---
WE (float on)
Screenprint on tulle
150 x 170cm
2025
---
The John Ruskin Prize showcases talent in all media, encouraging interdisciplinary works responding to this year’s theme, Patience in Looking, Truth in Making. This year's judges are Julian Wild @julianwildsculpture
, Victoria Pomery, Neal Shasore @nshasore, Mary Evans @maryevansartist and Nichola Johnson. Out of almost 4,000 entries, 91 artworks by 82 creatives have been shortlisted for the exhibition.
“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy and religion, all in one.”
— John Ruskin, Modern Painters, Volume III, Part IV (1856)
#comtemporaryprintmaking #geometricabstraction #textilesart #ruskinprize @TheBigDraw @ParkerHarrisCo
The John Ruskin Prize Exhibition continues until Saturday 21 February 2026. It's been an absolute pleasure to be selected amongst a superb variety of work.
Open Wednesdays-Sundays
11am-5pm mid week, 10am-5pm weekends
Trinity Buoy Wharf, London, E14 0JW @TrinityBuoyWharf
---
WE (float on)
Screenprint on tulle
150 x 170cm
2025
---
The John Ruskin Prize showcases talent in all media, encouraging interdisciplinary works responding to this year’s theme, Patience in Looking, Truth in Making. This year's judges are Julian Wild @julianwildsculpture
, Victoria Pomery, Neal Shasore @nshasore, Mary Evans @maryevansartist and Nichola Johnson. Out of almost 4,000 entries, 91 artworks by 82 creatives have been shortlisted for the exhibition.
“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy and religion, all in one.”
— John Ruskin, Modern Painters, Volume III, Part IV (1856)
#comtemporaryprintmaking #geometricabstraction #textilesart #ruskinprize @TheBigDraw @ParkerHarrisCo
The John Ruskin Prize Exhibition continues until Saturday 21 February 2026. It's been an absolute pleasure to be selected amongst a superb variety of work.
Open Wednesdays-Sundays
11am-5pm mid week, 10am-5pm weekends
Trinity Buoy Wharf, London, E14 0JW @TrinityBuoyWharf
---
WE (float on)
Screenprint on tulle
150 x 170cm
2025
---
The John Ruskin Prize showcases talent in all media, encouraging interdisciplinary works responding to this year’s theme, Patience in Looking, Truth in Making. This year's judges are Julian Wild @julianwildsculpture
, Victoria Pomery, Neal Shasore @nshasore, Mary Evans @maryevansartist and Nichola Johnson. Out of almost 4,000 entries, 91 artworks by 82 creatives have been shortlisted for the exhibition.
“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy and religion, all in one.”
— John Ruskin, Modern Painters, Volume III, Part IV (1856)
#comtemporaryprintmaking #geometricabstraction #textilesart #ruskinprize @TheBigDraw @ParkerHarrisCo
Well, this is a good end to 2025. Delighted to say that 'WE (float on)' has been shortlisted for the John Ruskin Prize 2026.
---
WE (float on)
Screenprint on tulle
150 x 170cm
2025
---
The John Ruskin Prize showcases talent in all media, encouraging interdisciplinary works responding to this year’s theme, Patience in Looking, Truth in Making. This year's judges are Julian Wild, Victoria Pomery, Neal Shasore, Mary Evans and Nichola Johnson. Out of almost 4,000 entries, 91 artworks by 82 creatives have been shortlisted for the exhibition.
The exhibition will take place at Trinity Buoy Wharf from Thursday 29 January to Saturday 21 February 2026. It is open Wednesday-Sunday each week, from 11-5pm on weekdays, and 10-5pm on weekends.
“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy and religion, all in one.”
— John Ruskin, Modern Painters, Volume III, Part IV (1856)
#comtemporaryprintmaking #geometricabstraction #textilesart
@TheBigDraw
@TrinityBuoyWharf
@ParkerHarrisCo
Well, this is a good end to 2025. Delighted to say that 'WE (float on)' has been shortlisted for the John Ruskin Prize 2026.
---
WE (float on)
Screenprint on tulle
150 x 170cm
2025
---
The John Ruskin Prize showcases talent in all media, encouraging interdisciplinary works responding to this year’s theme, Patience in Looking, Truth in Making. This year's judges are Julian Wild, Victoria Pomery, Neal Shasore, Mary Evans and Nichola Johnson. Out of almost 4,000 entries, 91 artworks by 82 creatives have been shortlisted for the exhibition.
The exhibition will take place at Trinity Buoy Wharf from Thursday 29 January to Saturday 21 February 2026. It is open Wednesday-Sunday each week, from 11-5pm on weekdays, and 10-5pm on weekends.
“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy and religion, all in one.”
— John Ruskin, Modern Painters, Volume III, Part IV (1856)
#comtemporaryprintmaking #geometricabstraction #textilesart
@TheBigDraw
@TrinityBuoyWharf
@ParkerHarrisCo
Well, this is a good end to 2025. Delighted to say that 'WE (float on)' has been shortlisted for the John Ruskin Prize 2026.
---
WE (float on)
Screenprint on tulle
150 x 170cm
2025
---
The John Ruskin Prize showcases talent in all media, encouraging interdisciplinary works responding to this year’s theme, Patience in Looking, Truth in Making. This year's judges are Julian Wild, Victoria Pomery, Neal Shasore, Mary Evans and Nichola Johnson. Out of almost 4,000 entries, 91 artworks by 82 creatives have been shortlisted for the exhibition.
The exhibition will take place at Trinity Buoy Wharf from Thursday 29 January to Saturday 21 February 2026. It is open Wednesday-Sunday each week, from 11-5pm on weekdays, and 10-5pm on weekends.
“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy and religion, all in one.”
— John Ruskin, Modern Painters, Volume III, Part IV (1856)
#comtemporaryprintmaking #geometricabstraction #textilesart
@TheBigDraw
@TrinityBuoyWharf
@ParkerHarrisCo
Well, this is a good end to 2025. Delighted to say that 'WE (float on)' has been shortlisted for the John Ruskin Prize 2026.
---
WE (float on)
Screenprint on tulle
150 x 170cm
2025
---
The John Ruskin Prize showcases talent in all media, encouraging interdisciplinary works responding to this year’s theme, Patience in Looking, Truth in Making. This year's judges are Julian Wild, Victoria Pomery, Neal Shasore, Mary Evans and Nichola Johnson. Out of almost 4,000 entries, 91 artworks by 82 creatives have been shortlisted for the exhibition.
The exhibition will take place at Trinity Buoy Wharf from Thursday 29 January to Saturday 21 February 2026. It is open Wednesday-Sunday each week, from 11-5pm on weekdays, and 10-5pm on weekends.
“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy and religion, all in one.”
— John Ruskin, Modern Painters, Volume III, Part IV (1856)
#comtemporaryprintmaking #geometricabstraction #textilesart
@TheBigDraw
@TrinityBuoyWharf
@ParkerHarrisCo
Well, this is a good end to 2025. Delighted to say that 'WE (float on)' has been shortlisted for the John Ruskin Prize 2026.
---
WE (float on)
Screenprint on tulle
150 x 170cm
2025
---
The John Ruskin Prize showcases talent in all media, encouraging interdisciplinary works responding to this year’s theme, Patience in Looking, Truth in Making. This year's judges are Julian Wild, Victoria Pomery, Neal Shasore, Mary Evans and Nichola Johnson. Out of almost 4,000 entries, 91 artworks by 82 creatives have been shortlisted for the exhibition.
The exhibition will take place at Trinity Buoy Wharf from Thursday 29 January to Saturday 21 February 2026. It is open Wednesday-Sunday each week, from 11-5pm on weekdays, and 10-5pm on weekends.
“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy and religion, all in one.”
— John Ruskin, Modern Painters, Volume III, Part IV (1856)
#comtemporaryprintmaking #geometricabstraction #textilesart
@TheBigDraw
@TrinityBuoyWharf
@ParkerHarrisCo
Well, this is a good end to 2025. Delighted to say that 'WE (float on)' has been shortlisted for the John Ruskin Prize 2026.
---
WE (float on)
Screenprint on tulle
150 x 170cm
2025
---
The John Ruskin Prize showcases talent in all media, encouraging interdisciplinary works responding to this year’s theme, Patience in Looking, Truth in Making. This year's judges are Julian Wild, Victoria Pomery, Neal Shasore, Mary Evans and Nichola Johnson. Out of almost 4,000 entries, 91 artworks by 82 creatives have been shortlisted for the exhibition.
The exhibition will take place at Trinity Buoy Wharf from Thursday 29 January to Saturday 21 February 2026. It is open Wednesday-Sunday each week, from 11-5pm on weekdays, and 10-5pm on weekends.
“The greatest thing a human soul ever does in this world is to see something, and tell what it saw in a plain way. Hundreds of people can talk for one who can think, but thousands can think for one who can see. To see clearly is poetry, prophecy and religion, all in one.”
— John Ruskin, Modern Painters, Volume III, Part IV (1856)
#comtemporaryprintmaking #geometricabstraction #textilesart
@TheBigDraw
@TrinityBuoyWharf
@ParkerHarrisCo
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