The Storytellers
Narrative takes centre stage here. Each print invites you into a world of imagery, symbolism, and imagination, where personal stories and collective experiences unfold through the artist’s hand.
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Natasha Michaels | Entity, 2026
Natasha Michaels’s monoprints draw from Renaissance to 19th-century painting. Investigating her ambivalence toward these originals, she both subverts and celebrates them, recasting sitters as fictional, often uncomfortable or perplexed figures. Through gestures addressing power, gender and artifice, the works ask viewers to reconsider status. Part Old Master, part cartoon, they reference contemporary ideas of beauty—celebrity, filters, cosmetic procedures—against flat, indeterminate backgrounds. Sitters seem uncertain of identity and context. Michaels’s process—reversing images, gestural brushwork, slips, smears and collage—creates strange, chimera-like prints that hover between high art and pop culture. She makes multiple versions, continually experimenting as if in dialogue with the originals and emerging
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Emily Kirby | Canoe
Emily Kirby’ practice moves between an exploration into mark making and form and playful narratives around female connection and intimacy. Her etchings often elicit a distinct sense of place and environment in which her subjects dwell. Having lived and worked in different countries, Kirby’s work exhibits connectivity and a sensitive appreciation of people and places she knows well, and frequently returns to in her work..
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Jake Garfield | Man And Woman In Garden, 2026
Jake Garfield (b. 1990) is a London-based artist working across printmaking, drawing and painting. Boxers, pictures within pictures and damask patterns are recurring motifs in a practice that reflects on themes of masculinity, artistic persona and selfhood.
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Lucy Newman | Claude Glass in the Lake District, 2026
Lucy Newman focuses on landscape, the domestic, the past and the natural world, seen through a fascination with images. In her studio she uses a Gelli plate and green screen, contrasting traditional print illusions with digital video. Influenced by early film and optical analogue effects, she draws on the Claude glass, staged poses and the role of pictures in shaping landscape. Her work absorbs lived experience - responding to a river citizen-science project or junk mail: artefacts of our time with their raw materials and layered histories.
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Maite Cascon | Heroines Tree, 2026
Maite Cascón is an artist-printmaker whose richly detailed prints draw viewers into the hidden corners of the human mind. Populated by countless figures and symbols, her works reinterpret and explore myths and belief systems that have evolved over centuries, bringing them into dialogue with the present. Nature is central to her practice, reflecting both our psychological bond with the natural world and our longing to reconnect with it. Through etching, aquatint, and drypoint, Cascón develops a distinctive visual language that is at times absurd, violent, or tender, yet always deeply rooted in human nature. With a sharp eye and a playful sense of humour, she challenges inherited ideas that still continue to influence us, inviting viewers into a dreamlike world that encourages slow and attentive observation.
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Elvira Rose Oddy | Where The Wild Things Are, 2025
Elvira Rose Oddy’s practice spans drawing, painting and printmaking, with Landscape as its central concern. Rooted in personal encounters with wild places, gardens and tidal in-between spaces, her work uses drawing to evoke the feeling of a place rather than its literal topography. Recurring preoccupations—weather, light and space—are rendered through juxtapositions and contrasts. Oddy seeks subjects that resonate as microcosms of human experience and that retain a hint of the mysterious.
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Flora McLachlan | Keep the home fires burning, 2026
Flora cultivates a magical consciousness through her artistic practice. Her images are born in materiality, using impermanent and chaotic etching grounds or flowing lithographic tusche to let chance into the work. The copper plate enters the mordant as into a witch’s cauldron: working like this, she is casting spells. She imaginatively reworks these marks to evoke her ambiguous, dreamlike stories. Each work is bound into a tentative and poetic personal mythology.
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Wilhelmina Peace | The Promise, 2024
Wilhelmina Peace is a Belfast-based visual artist and printmaker whose work explores myth, fairy tales and folklore as frameworks for examining transformation, identity and the inner landscape of the human psyche. Working across drawing, collage, etching, lithography and artists' books, she creates figurative works that draw upon dreams, memory and a personal symbolic language. Archetypal female figures recur throughout her practice as vehicles for exploring themes of metamorphosis, vulnerability, otherness and belonging. Informed by her background in cultural anthropology, Peace's practice is rooted in Surrealism and Symbolism, while also drawing inspiration from mysticism, spiritual traditions and outsider art.
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Mohammad Barrangi | Hunting Grounds, 2026
Barrangi works in the long shadow of the Persian illustrated manuscript. His vocabulary — calligraphic ground, framed figures, hybrid animals, decorative borders like architecture — will be familiar to anyone who knows Safavid miniatures or Qajar lithographs. He uses it contemporarily: script is often invented or illegible, calligraphy treated as image, and figures from European tableaux, Edwardian portraits, circus posters and his family album are folded into Persian compositional logic. The results feel both ancient and newly made, refusing to settle. Humor sits near the surface: bird-headed riders, women conversing with lions, patient elephants are comic before solemn. He draws structurally on
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Bob Holmes | Fragmented Landscape, 2026
Bob Holmes makes images where people, animals, plants and landscapes entwine. Working across digital collage, painting, printmaking and drawing, he constructs imagined worlds in which history, myth and contemporary life coexist. Familiar places are quietly transformed, inviting multiple readings rather than a single fixed narrative.
Holmes repeatedly returns to our relationship with the natural world, probing the contradiction of our total dependence on nature while acting as if we exist apart from it. Through recurring motifs of figures, flora, fauna and landscape, he examines ecological fragility, memory and the passage of time. Beauty draws the viewer in; closer inspection discloses subtler tensions beneath the surface.
