This month POP are delighted to present a selection of prints based around ‘landscapes’. From whimsical country plains, to atmospheric seascapes, our members have uniquely captured a range of scenes.
Cally Conway: Realm of the White Horse
Realm of the White Horse is a linoprint that celebrates hill figures of the British Isles and ancient mystical landscapes. “I’m interested in the symbolism and folklore attached to these landscape figures, and their place in mythical Britain,” says printmaker Cally Conway. The horse is based directly on the Westbury horse in Wiltshire which can still be viewed in the landscape. Depicted against a night sky, the horse surveys over a dramatic and magical comet event. This lights up the strange and beautiful toothwort plant in the foreground (a fascinating parasitic plant that is rooted in folklore). The night’s sky also features carved elements taken from the horse nebular. The scene is encased within a frame of Daphne’s hand (from the Greek myth) transforming into a laurel tree, mini comets, and moon faces.
Pamela Haining: Allotment Life
Just before summer, Pamela Haining took on her first allotment plot and has slowly, yet steadily been transforming it from barren wasteland, overrun with thistles and nettles to somewhere almost ready to grow, complete with a dreamy pink shed. Needless to say, this summer, the allotment plot and all the potential yet to come has been her favourite view; “it’s somewhere we can let time slow down and get back to basics”. This inspired Pamela’s most recent lino cut print, Allotment Life, which she carved from Japanese vinyl lino, hand printed, then digitally coloured.
Lewamakes: Northern Lights
The Northern Lights have inspired some of the most dramatic tales in Norse mythology. The Vikings celebrated the lights, believing they were earthly manifestations of their gods. Other Norse people feared them, telling stories of the dangers they posed and developing superstitions to protect themselves. Whether a harbinger of good or evil, the lights were as magical and revered as they continue to be today. This linocut print is part of Lewamakes’ Travel Bucket List series, one of many places that they hope to see one day.
Caroline Tomlinson: The White Cliffs
Caroline Tomlinson’s work is divided between spending time in her studio painting, and making marks or working with a screen printer who translates her pieces into prints. The process of working with a printer has informed her work hugely as she loves a limited colour palette. Using the white of the paper for the ‘colour’ of the famous White Cliffs allowed the piece to have a calming atmosphere, with the energetic lines and inky washes of colour bringing a little energy. Caroline is often inspired by the sea and coastal places, and is gradually building a body of landscapes that reflect this endless quest for Summer.
Magdalena Krupska: Ocean Landscapes
A big lover of the ocean, printmaker Magdalena Krupska often goes for a walk by the water to observe how it changes. She tells us; “I walk along the huge cliffs that surround the beach, admiring the beauty of this wild nature. While it is still here, pure, untouched, where man is only a visitor.” Based on these views, Magdalena makes sketches, designs graphics, and adds colours that express her emotions.
Charlotte Staunton: Through the Trees
Through the Trees is a reduction linocut print by London-based printmaker Charlotte Staunton. The landscape print is inspired by the treeline at Snape Maltings, Suffolk. She comments; “It is an absolute joy, peeling away the paper to reveal your print, this never tires”.
Elyse DeLisle: Yosemite Valley Tunnel View
This linoleum block print of Yosemite Valley, as seen from Tunnel View, was initially created by Elsye DeLisle as a commissioned artwork. The piece captures features of the valley such as Half Dome, El Capitan, and Bridal Veil Falls. A sweet memory gifted from husband to wife.
Arron Foster: In a Furnace on the Ground
In a Furnace on The Ground (Deerfield) is a silkscreen and relief Print that forms part of a larger body of work focused on superfund and brownfield sites found in Northeast Ohio. The focus of this piece is the superfund site found in Deerfield Ohio. This 11.5-acre site is located on a former coal strip mine containing a coal wash pond and stockpile. From 1974 to 1978, the site was used as a waste disposal facility for oil, resin, paint and metal plating sludge, and flammable and chlorinated solvents. On August 17, 2022, EPA removed the land/soil portion of the Summit National site from the NPL after determining that the soil cleanup was complete, and no further action was necessary other than continued operation and maintenance, monitoring, and five-year reviews (more about this superfund site can be found here). Arron Foster’s ambition with this work is to capture the ways in which the site feels preternatural and embodies both devastation and recovery.
Sian Hulse: Sunset Over Whitstable
Sian Hulse’s newest reduction linocut print, Sunset over Whitstable, is based on her hometown and love for the sea. The landscape print is composed of 14 colours over 8 layers printed on Somerset Satin paper and available in an edition of 12.
Haviva Seligson: My Safe Place 
These ink drawings were created during Haviva Seligson’s last visit to Finland. She states; “While worrying about political changes in my homeland that were threatening my country’s democracy I felt I must find a safe place for my thoughts, so I sat in the woods and focused on the beautiful and powerful nature that cannot be touched.”
Britt & Mars Print Co.: Animal Battles
Britt Bowen, aka Britt & Mars Print Co., is a printmaker based in Salem, Massachusetts. She has been working on her linocut Animal Battles series since 2019. These dreamscape scenes include twin animals caught in a moment of action: whether that action is aggressive or playful is up to the viewer. Britt aims to capture frenetic little scenes that transport the viewer into another world with a range of flora, fauna, and celestial beings. This series is a study of balance, symmetry, and relationships, and strives to celebrate nature. Britt prints each design on tan sketchbook paper in limited editions of 30 prints.
Petra Verkade: Pastel Landscapes
Pastel Landscapes is an ongoing exploration of the Risograph print technique, featuring colours, details, and experimentation with layers. Petra Verkade’s designs are fictional landscapes in which colour, composition, and realistic details come together.
Vanessa Lanza: Ocean Cyanotypes
Vanessa Lanza’s Ocean Cyanotypes start with her coating cotton rag paper with a photosensitive cyanotype solution. Then, she dips it in ocean water (sometimes utilising the waves/tides, other times she brings a bucket of ocean water to her home studio). As she’s exposing the paper to sun, Vanessa will add salt, sand, pebbles, or seaweed. Once it is exposed for a sufficient amount of time, she rinses it off and leaves it to dry. It’s blue colours will set in about 48 hours. Vanessa then repeats the process, adding more cyanotype solution to certain areas, exposing it to the sun, then rinsing and drying. If she’s happy with it, she may lighten some areas with washing soda (similar to oxiclean) and/or citric acid. “The end product is usually a bit of a surprise and I love that part of it,” says the printmaker.
Studio Kars en Boom: Into the Forest I Go
“We escape from reality in our work,” states Studio Kars en Boom. In their graphic and illustrative prints, installations, and products they create new worlds in which they wish to wake up. In this print series the studio search for the geometry of landscapes and the shapes and patterns of cities, thus creating a new interplay of lines.
David Cumming: Kelvin Rowers
This print has gone through several iterations, and continues to do so every time David Cumming pulls a print from the plate. Originally supposed to be a single, black image, David has experimented with several shades of blue, yellow sunsets in the background, applying thick acrylic to the tree trunks, intentional under, and over inking. He comments; “At present I’m enjoying overlaying blue and black layers. Registration is tricky but when it lines up the results are wonderfully unpredictable.”
Check out more work by our community and apply to become a Verified POP Member at www.members.peopleofprint.com.
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Want to know more about our membership? Give us an email at members@peopleofprint.com.
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