There is a difference between a collectable fine art print and a mass-produced reproduction. Fine art prints are hand-inked and pulled by the artist using a manual printing press. They are original butdiffer from paintings and drawings, because more than one of each design is available. My signed prints with an edition number are one-of-a-kind limited edition prints. While I generally stick to the conventions, I am not a purist. I sometimes re-edition a print in a different colour, or cut up my blocks and re-edition parts of them. Sometimes I press them into clay or stick bits of the rejects to cards.
These are a hand-printed linocut printed on quality acid-free paper, usually mounted to fit a standard sized photo frame, which can be easily purchased from many department and home-ware stores.
Lino prints are a popular collectable item which can appreciate in value as the artist becomes more renowned. The printing of a limited edition enables more people to have a copy at a more affordable price than a one-off artwork, making art accessible to the masses, whilst maintaining its value as original artwork.
If a design has a limited edition of 100, meaning only 100 people in the world can have one! They are sold in the order they were printed, so the number you get will be the closest to number 1 which is still available.
I designed and carved the image myself and printed it in my home studio on a wooden printing press hand-crafted by Joseph Caesar.
In 2000 I went to Japan to teach English for a year. I lived on an island called Kawashima-Cho in Aichi-Ken. Of the many eye-opening and sometimes mind-blowing experiences I enjoyed, the highlight was joining a printmaking club hosted by the renowned Japanese master printer Ichiro Horio. There I did my first woodcut “Drinking Buddies” which was taken from some little wooden statuettes he had hanging with a collection of nick-nacks on his studio wall. It was also my first print done “from life”. Mr Horio gave me some beautiful carving tools which had multiple grooves enabling a wavy pattern. His work was amazingly intricate and modern, often carved from the surface of a slice of tree trunk. I will be forever grateful to him and the other artists in the club for making me so welcome, despite a major language barrier!
In 2001 I decided to cycle tour New Zealand. I barely made it to the outskirts of Auckland before returning to hire a car! A cycle courier stopped to give me directions and offered a piece of unsolicited advice that would change my life forever. Without knowing I was a potter, he suggested I go to Driving Creek Railway in Coromandel Town. He said the owner Barry Brickell was a potter who had artists from around the world come to do residencies in his studios. I went there, fell in love with the railway and its location, and stayed for the next 4 years! I enjoyed numerous new experiences, multi-cultural friendships, the freedom to create full time, and relative success. I exhibited frequently and sold my work through many outlets including the railway shop. I became “world-famous in New Zealand”!