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Series of the 5 square prints in a row

20:20 Print Exchange

These are the 5 prints that have been submitted from the Taigh Chearsabhagh Print Workshop for the high profile 20:20 Print Exchange.  This puts the Taigh Chearsabhagh Print Workshop back on the map, hurray!

The RED TOWER Photopolymer etching

Square print in red and pink. of Scolpaig tower, with its reflection in the loch.  The title and artists' names are written by hand.
Image credit: John Kippin & Nicola Neate

Scolpaig tower (or Dùn Scolpaig) is an historic folly built on an earlier settlement in the far north-western corner of the Isle of North Uist. Planning consent has been given both by Comhairle nan Eilean Siar together with the Scottish Government for Scolpaig to become one of the U.K’s newest spaceports, destroying what is one of the world’s most environmentally sensitive and precious places, for short-term commercial gain and the inexorable militarization of the Outer Hebrides.

We have both been campaigning to save Scolpaig from becoming an industrialised site, so working together with this image seemed appropriate. We used a combination of photographic and digital processes to produce a plate that explores and combines contemporary and traditional approaches to printmaking.

John Kippin & Nicola Neate

THE LAST SONG Woodcut with Chine Collé

Print of a bird with outstretched wings, overlaid on text, on a black background.
Image credit: Nicola Neate

Many scientists believe our planet is in the early stages of a mass extinction. Living in the Outer Hebrides has made me more aware about how human behaviour and modern lifestyles impact the lives and habitats of birds, animals and marine life. I was deeply saddened by the large numbers of dead seabirds that I came across due to an outbreak of avian flu. The Last Song reflects upon the fragility of our ecology. I have used a combination of digital and traditional printmaking processes.

Nicola Neate

JUST CRAB Collagraph & Linocut

Print in red of a crab form, on a white background.
Image credit: Siân Swinton

Since sailing in the waters around South Uist and Eriskay as a child and returning as an outdoor swimmer in adulthood I’ve been curious about the life under the waves. My car dashboard rattles with crab carapaces picked up on my almost daily walks along the beach, turning from their dark grey-green to vibrant red as the sun bleaches them. Collagraph was used for the blind emboss of the subtle tide lines and lino print was used for the crab itself, mixing an unpredictable print method with one that can be much more controlled – a juxtaposition that the tides also follow.

Siân Swinton


Black and white print of an elephant with a white band around it's middle.
Image credit: Keith McIntyre

Since first encountering Galloway Belted Cattle I’ve always had a fascination at the graphic impact of the bold white stripe perfectly positioned across the middle of the animal. ‘Beltie Elephantus’ is just one of a series of prints speculating on this theme using other animals. Working with a rotary power tool the image was drawn and scored into a drypoint plastic plate. This methodology has a high degree of risk and unpredictability but the dynamic of the marks suits the subject.

Keith McIntyre

BHRUSDA Drypoint and collagraph

Black and white print of a series of fishing flies.
Bhrusda image credit: Sheenagh Patience

There are many similarities between fly fishing and printmaking. Its all about surface. Using collagraphy material fixed onto the plate can generate new meaning and form. The intaglio line however cuts into that surface. On the lochs of Berneray and North Uist anglers will be making decisions about which flies to use to lure the fish into thinking this tiny hand-crafted object is food. Dry flies are designed to sit above the water-line while wet flies move underneath. Its all about the conditions of the day, a bit like being in the studio.

Sheenagh Patience