The Conceptualists
For those drawn to ideas as much as imagery, this trail highlights artists who challenge perception and provoke thought. Their works push the boundaries of process, meaning, and material.
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Sana Obaid | A Pillow, 2024
Sana Obaid’s practice is rooted in love, healing and a longing for peace in a world shaped by conflict and destruction. As a mother, she reflects on the vulnerability and future of children, transforming grief, tenderness and quiet hope into material form. Through contemplative, process-led making, she creates works that hold fragility and resilience in balance, inviting moments of reflection, empathy and the possibility of renewal.
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Virginia McArdle | Mapping The Black Sea, 2026
Virginia McArdle is a multidisciplinary artist, her recent body of work is concerned with the environment and our fragile world. Her prints, paintings and drawings primarily use texture and mark making ; particularly the abstract marks found in landscapes, on our bodies and in our memory.
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Kristen McClarty | A shadow finds a place
McClarty’s practice draws on the idea that lived experience lingers in a place as residual energy, mounting up as a palimpsest on the environment. Acutely aware of how surfaces translate into print, she attempts to read the marks of this residual energy from the world around her. Some of those marks she translates to woodcut. Her shadow, a temporary celestial creature, appears in relation to those marks, and through the transmutation of its form, brings elements of that ‘text’ to life. To engage with this materially, McClarty turns to sculpture and installation as an extension of her process, submitting artworks from this expanded practice.
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Anna Mays | Torso 28.08.25, 2026
“Do you not feel vulnerable putting yourself on display?” I work from my own CT, MRI and flatbed scans, slicing and reassembling them as physical works. Screen printed, etched and laser-cut into steel, these analytical images become mechanical, modular objects. A living body is diagrammed, simplified and ordered. I explore flat versus three-dimensional, technological versus organic, and the shared language of print and medical imaging—bodies flattened, pressed, sliced and transferred. “You were the one receiving the information, not the one giving it.” These bodies nest—connected yet separate—finding balance where they rest together. Fragments of one body become many, appearing and disappearing as positive and negative shift. It’s the empty space that draws me, evoking the unknown beyond the surface. Anna Mays (b. 1998, Dublin) is a London-based artist.
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Paul Coldwell | Studio II, 2021
Paul Coldwell is an artist with a broad practice which includes sculpture, print, installation and bookwork. Themes in his work revolve around still life and the everyday objects that accompany us. Much of his recent work has involved working with collections such as The Estorick Collection, Freud Museum and The Sir John Soane’s Museum.
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Sam Joseph | The (In)Visibility of the Erasure of Women 1 (polptych), 2026
Sam Joseph is a UK-based filmmaker, visual artist and researcher whose interdisciplinary practice examines gendered power structures, systemic inequality, and the lived realities of violence against women.
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Colin Lyons | We will find salvation in strategic chemical spills: iron fertilization, 2022
Colin Lyons grew up in the birthplace of the North American oil industry, Petrolia, Ontario. Fusing printmaking, installation, and chemical experiments, his work employs the chemistry of etching to reflect on geoengineering, extraction, alchemy, and brownfield remediation. His current project began with what may seem an absurd question: What might our climate-engineering technologies look like if they were designed by alchemists? However, instead of practical climate solutions, these prototypes lay bare the folly of our desire to find salvation in the fine balance of strategic chemical spills. He attempts rituals of transmutation for our most base material - industrial waste - blending the sacred and scientific to question what kind of nature we hope to approximate within a techno-solutionist future.
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Emilia Telese | Suite for an Imaginary Forest: Andante, 2025
Emilia Telese’s practice explores how time, human experience and environmental processes leave traces within materials and landscapes. Working across printmaking, installation and performance, she considers all artistic practice as fundamentally time-based, using paper as a surface where time and transformation become visible. Telese works with materials that carry their own histories, including dust, soil, clothes and personal objects. At Imprint 2026 she presents two works from Suite For An Imaginary Forest, a series she made about the lost birch forests buried beneath the Icelandic Highlands. Conceived as a musical composition, the suite consists of six monoprint and drypoint collagraphs incorporating dust from extreme Icelandic storms alongside crushed malachite and lapis lazuli. Central to Telese’s practice since 2023 is a process of building fragile printing matrices that progressively deteriorate with each passage through the press, with every subsequent impression registering a particular stage in their degradation.
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Sumi Perera | REGENERATION Versus GENTRIFICATION 2198 [Postcode Ponte City, Johannesburg SA], 2026
Sumi Perera is an interdisciplinary artist, academic, curator & adjudicator who makes interactive artistbook print installations. She has lead a nomadic life since the age of 3 born in Sri Lanka & living & working in UK shifting between many cultural and professional pathways as a housewife/doctor/scientist and artist.
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Tori McLean | Do I Merely Multiply? (Mother), 2025
Tori McLean is a British artist and printmaker whose interdisciplinary practice examines how women's value is perceived and assigned. Using printmaking, automata, sculpture, and installation, she probes the cultural, social, and economic systems that define worth and marginalise people. In this series, kinetic figures pose questions—Am I Purely Decorative? Do I Merely Multiply? Where Does My Value Lie?—challenging feminine archetypes and printmaking itself. Combining traditional craft, analogue and digital print, and hand-built mechanisms, McLean uses movement and symbolic imagery to critique the invisible structures of care, labour, beauty, and expectation that shape women's lives.
