PrintFest 2017 29th- 30th April


, , , , , , , , ,

Glenn Ibbitson @ PrintFest 2017

Screenprints    Drypoints    Monoprints    Collagraphs    CD and Book Catalogues

price range £2.50 to £300

Coronation Hall, County Square, Ulverston, Cumbria LA12 7LZ


Collected works 1Catalonia 1glenn-ibbitson-printfest-8

Private view by invitation:
Friday 28th April, 7-9pm

Open to the public:
Saturday 29th April, 10am-5pm
Sunday 30th April, 10am-4pm

Look out for the AA signs on the A590 for Printfest 2017

Swimming against a tide of Price Haggling


, ,


With increasing frequency, I am being asked by galleries if they may be allowed to offer discounts on my works which they are showing.
The enquiry usually runs along the following lines…

 “I just wanted to let you know our usual policy on sales discounts. Firstly we do not volunteer discounts, it is only if a potential buyers asks and we feel it would ‘seal the deal’ would we consider it. As with usual ‘gallery practice’ we would not offer anymore than 10% – less if at all possible. Could you let me know if this would be agreeable to you?”

I find this grossly insulting, and I hope other artists do too. Before I had ever submitted the artwork to the gallery, I spent much time carefully pricing the work submitted as per my usual practice. After considerations of materials, time, commission and transport costs are taken into account, I am making something barely above minimum wage. My margins are as tight as any serious practicing artist I know.

  Moreover, I tend to feel that if a person asks for and receives a discount, they don’t actually deserve to own one of my artworks. They devalue my work and demean themselves. They don’t actually appreciate the artwork; it has simply become another commodity bargain target. Worse for them, if their offer is accepted by the artist, they are left with a vaguely nagging suspicion that if they had held out further, they might have won a greater concession from the gallery.

Whenever I have asked such a buyer [and it is usually a doctor, lawyer or dentist] if they would be prepared offer a discount for their services to anyone who cared to haggle, they don’t entertain the concept! How strange..

Of more importance to me is the real sense that if I did offer concessions on my art, I would be doing previous purchasers of my work, who did not press for a discount, a great disservice. Why should they be penalised for paying the asking price without question?

I actually do offer discounts on sales -but these are only available to people who have bought my work in the past. This is a policy which rewards loyalty. I recommend this to other artists as an operational model.

Orwell: the Wigan Pier Print


, , , , , , , ,

Orwell Wigan Pier 1Orwell Wigan Pier 2Orwell Wigan Pier 3Orwell Wigan Pier 4

Orwell: The Road to Wigan Pier

A  variable edition of four screen prints  Six layers; acrylic, acrylic silver, adhesive and graphite powder.  March 2017

George Orwell has for me, that most unusual knack of being able through his writing style, to place me as the reader at the very centre of the action; as the  protagonist. When I am reading him, I am Gordon Comstock, I am Winston Smith, I am George Bowling. I am the passenger on the train crossing the North of England catching sight of the woman clearing the drain…* A very few books have placed me in such a position. “Catch 22” did; “Moby Dick” too. Orwell achieves this with a consistency I cannot find in any other of my favourite writers -not even Sterne. I use this sense of subjectivity  to excuse my hubris in placing myself as the image in these prints on the same surface as the great man’s name.

The composition of tonal blocks separated horizontally and then overlapped into strata was employed to suggest a vertical cross-section mapping through the earth; vital information in the search for valuable coal seams worth mining.

Graphite powder was utilised to echo the dust and grime associated with the activity and products of heavy industry. “The Road to Wigan Pier” is a book so evocative of its geographical and economic setting that  after each reading, I find myself inspecting my fingernails for any buildup of coal dust and metal particles under them. It seemed logical that my treatment of this particular book in Orwell’s canon should be monochromatic, rather than the multiple colour layers I used for other prints in this series. Another; “Homage to Catalonia” was printed using a brick red of the earth and the red and yellow of the region’s [country’s] flag. British newsreels from the 1930’s were shot on black and white film stock; we view the period through archived treasures such as Picture Post and the BBC Hulton Picture Library. People of course lived this age in colour; we find it difficult to acknowledge this, such is the pervasive power of the photographic image.** Only our own lives are lived in glorious technicolor.

The Orwell covers will be on view at Printfest @printfestnews in Ulverston in April.

*“The train bore me away, through the monstrous scenery of slag-heaps, chimneys, piled scrap-iron, foul canals, paths of cindery mud criss-crossed by the prints of clogs. This was March, but the weather had been horribly cold and everywhere there were mounds of blackened snow. As we moved slowly through the outskirts of the town we passed row after row of little grey slum houses running at right angles to the embankment. At the back of one of the houses a young woman was kneeling on the stones, poking a stick up the leaden waste-pipe which ran from the sink inside and which I suppose was blocked. I had time to see everything about her—her sacking apron, her clumsy clogs, her arms reddened by the cold. She looked up as the train passed, and I was almost near enough to catch her eye. She had a round pale face, the usual exhausted face of the slum girl who is twenty-five and looks forty, thanks to miscarriages and drudgery; and it wore, for the second in which I saw it, the most desolate, hopeless expression I have ever-seen. It struck me then that we are mistaken when we say that ‘It isn’t the same for them as it would be for us,’ and that people bred in the slums can imagine nothing but the slums. For what I saw in her face was not the ignorant suffering of an animal. She knew well enough what was happening to her—understood as well as I did how dreadful a destiny it was to be kneeling there in the bitter cold, on the slimy stones of a slum backyard, poking a stick up a foul drain-pipe.”

― George OrwellThe Road to Wigan Pier

** The Hellenistic world is also viewed as a clean, ‘white’ age, thanks to the exhumation of sculpture and architecture bleached and weathered of its original polychromy. By contrast, the Renaissance may seem to us a riot of colour, thanks to the efforts of Van Eyck, Titian and Veronese [-and an absence of any monochromatic photographic archive]

Four paintings: Radnorshire Museum Open


, ,

Consignment batch31 unit4Consignment batch31 unit4

Consignment batch38 unit34Consignment batch38 unit34.

Levitating Lady with HoopLevitating Lady with Hoop

moorland outcropMoorland Outcrop

Four paintings which will be on show in the Radnorshire Museum Open

Exhibition Dates: April7th – 24th June    Private view: Friday 7th April 6-8pm

Phone:01597 824513

Address:    Radnorshire Museum
Radnorshire Museum
Temple Street
Llandrindod Wells

Opening times: April – September

Day Time
Tuesday to Friday 10 a.m. – 4 p.m.
Saturday 10 a.m. – 4 p.m.
Sunday Closed
Bank Holiday Mondays 10 a.m. – 4 p.m.

George Orwell: the book cover designs


, , , , , , , , , , ,

1984 2

‘ Orwell: 1984’ six layer screenprint  1/1

Catalonia 1

‘ Orwell: Homage to Catalonia’ five layer screenprint  1/1

Collected works 1

‘ Orwell: Collected Works 1’ four layer screenprint  1/1

Coming up for Air 1

‘ Orwell: Coming Up For Air’ Five layer screenprint  1/1


A suite of unique screenprints [no editions have been created]. Designs for book covers for Orwell’s works. Based on both the graphic and physical qualities derived from the overlayerings, degradation and tearing/ripping of posters from billboards. The portrait element was transferred from three [same size] self-portraits painted on acetate sheets which were then directly exposed onto the silk screen.

Liquitex acrylics on Seawhites 300gsm  and Fabriano Artistico papers.   A1 size

Printed as a contribution to the forthcoming tribute exhibition to the work of George Orwell, working title ‘room 103’. Full details to follow.

The prints will preview at PRINTFEST

@ Coronation Hall: County Square; Ulverston, Cumbria LA12 7LZ

Tel: 01229 588994

Dates Times
Thu 27 Apr 2017 18:00 to 19:30
Fri 28 Apr 2017 19:00 to 21:00
Sat 29 Apr 2017 10:00 to 17:00
Sun 30 Apr 2017 10:00 to 16:00
Thursday 27th April, 6-7.30pm – Opening Talk by the Printmaker of the Year Jason Hicklin and the Printmakers’ Printmaker Fouzia Zafar. Free. Booking essential to

Friday 28th April, 7-9pm – Private View by invitation only, requests for invitations to Individual Print Awards presented.

Saturday 29th April, 10am-5pm – Over 40 artist printmakers showing and talking about their work and methods of printmaking. Vote for Visitors’ Choice.

Sunday 30th April, 10am-4pm – Over 40 artist printmakers showing and talking about their work and methods of printmaking. Visitors’ Choice Award and Printmakers’ Printmaker Award presented.


Entry fee £4.00, catalogue available £1.00

Royal Birmingham Society of Artists Open All Media 2017


, , , , , ,

Very honoured to receive a Highly Commended for the ‘Consignment’ paintings on show @RSBA last evening  #RSBA

Highly commended

Open all Media 2017

Highly Commended Artists          Glenn Ibbitson,    Ed Isaacs ,   Constantin Malmare NWA,    Rachel Ricketts RBSA ,   Helen Willis,    Patsy Whiting.

As part of our charitable work to support artists the RBSA stages various ‘Open’ exhibitions annually. The ‘Open all Media’ is one of the most popular and attracts entries from across the UK. It provides artists with the opportunity to exhibit their work, whether it is 2D or 3D, and the chance to be awarded for their talent. Works including jewellery, ceramics, textiles as well as drawing, painting and printmaking.

Sponsored by Fresh: Art Fair

17th March – 8th April 2017

Monday to Friday 10:30am – 5:30pm
Saturdays 10:30am – 5:00pm
Sundays 1pm – 5:00pm                        Admission Free

Screenprints for Printfest 2017


, , , ,

Screenprints in production for Printfest 2017 

printfest 1Printfest 2

PrintFest 2017

Coronation Hall, County Square, Ulverston, Cumbria LA12 7LZ

Private view by invitation:
Friday 28th April, 7-9pm

Open to the public:
Saturday 29th April, 10am-5pm
Sunday 30th April, 10am-4pm

Look out for the AA signs on the A590 for Printfest 2017

PAGES Leeds | International Contemporary Artists’ Book Fair


, , , , , , ,

PAGES Leeds | International Contemporary Artists’ Book Fair 

The Tetley, Leeds, 4th – 5th March 2017,
10am – 5pm Admission free

Books, book art and all things artist book related- a great free day out. Inspiring books to read and handle, the artists and makers, talks, refreshments, and easy parking just outside.

Carole King will be showing a selection of tunnel books as well as concertina books from the ‘Treelines’ series, hand stitched and bound sketchbooks and handprinted papers.
Glenn Ibbitson is bringing his new book ‘Drought’ and accompanying prints; his book ‘Eclipse’, created from work made in collaboration with a Japanese calligrapher in response to the homeless of Japan, and other catalogues and publications.

Books using Coptic Binding: a workshop with Carole King

 Make a coptic bound book with hard covers and a decorative stitched open spine, suitable for use as a sketchbook, notebook, diary or journal. 

During this one day workshop participants will complete an A5 size book (portrait format) filled with drawing quality paper.

Coptic binding secures the pages so that they will open flat on a table : it enables you to combine multiple types of paper within one book.

Skills required: Just accurate measurement, a bit of patience and simple sewing skills required

If you would like to come please contact Bethan at

as soon as possible

Details of other workshops can be found at

PAGES Leeds | International Contemporary Artists’ Book Fair


, , , ,

PAGES Leeds | International Contemporary Artists’ Book Fair

The Tetley, Leeds, 4th – 5th March 2017, 10am – 5pm

Showing a range of project catalogues and limited edition original artist’s books

[with Carole King]

admission free

book4.jpgbook2.jpgBaltic Gateshead.jpgbook6.jpgnem2.jpgnem3.jpgBaltic Centre for Contemporary Art.jpg

RWSW @ Theatr Clwyd


, ,

Royal Watercolour Society of Wales

11 March – 22 April 2017

Theatr Clwyd, Raikes Lane, Mold, CH7 1YA

Target St Sebastian.jpgTarget: St. Sebastian    watercolour

Target against the wall.jpgTarget: pinned to the wall    watercolour