“I love drawing really quickly. I love drawing in really difficult situations. I love drawing in the dark. I like what happens when you can’t see everything or when it’s passed and you have to remember it rather than drawing what it actually looks like, so it’s about the experience of looking as much as what I’m looking at.”
We talk to Michelle Avison about building a resilient artistic practice over 30 years.
“I felt like I was in multiple spaces at the same time – the studio, my source material, my paintings – and I really lost myself in the process of making. I had this epiphany that if I inhabited my paintings long enough then the experience of looking at them would contain the dysphoria I felt, because that’s how art works, it’s a sort of a mirror.”
“It’s all because I want to see myself, I want to see those unnoticed moments, how they pass by, what is really happening. So that makes the work very personal.”
When we set up SLAUGHTERHAUS Print Studio in 2010, we named it after the building. Redesigning our website in 2024 was also the perfect time to launch our new name, HAUSPRINT.
SooMin Leong’s practice focuses on the transition from one place to another, both through literal journeys and the many stages that go into making her prints. Each is a story informed by the experience and impression of travelling. We interviewed her about her own journey into printmaking.
From her inspirations to struggling to find a place to draw, Michelle takes us through a chronological history of her work, and how she learned to embrace the practice of looking in this video presentation.
Following a previous career as a forensic psychiatrist, James Anderson’s colourful carborundum and layered woodcuts convey the emotion of inner worlds. We discuss abstraction, inspiration and the hard work of practice with him.
Eleanor grapples with her attraction to decorative interiors, finding beauty in pattern, object and light, in this video presentation.
“When I’m sitting in a ballet rehearsal I don’t have access to a table or any printing things so I have to make the monoprints from sketches when I get home. There’s a lot of bodies, there’s a lot of faces, a lot of movement.”
In this podcast episode released by Fermynwoods Contemporary Art, Sarah Gillett talks about her research on how astronauts dream, the promise of future seances, and the joy of collaboration.
In this video presentation, Helen talks about the different ways in which she explores the world around her through drawing, painting and printmaking, including looking at dancers in rehearsal, the natural environment and portraiture.
In this video presentation, SooMin discusses her practice, the importance of landscape in her images and how walking can change how we experience the world.
This Monday evening class is a unique opportunity to build your etching skills over the course of a year. The HAUSPRINT Etching Year is designed to provide stable building blocks for your printmaking future, whatever your starting point. Over 40 weeks you’ll be guided through a specialist programme delivered over three terms which teaches the principles of etching.
Explore monotype printing over three mornings at HAUSPRINT. This course is designed to give you a really good understanding of using water washable printing inks to make painterly monotypes.
Across three evenings, explore the magical properties of aquatint to create prints with a range of tones from light to dark. Whatever your inspiration, from ocean to architecture, nature to grafitti, learn how aquatint can be used for exciting results.
Receive a print chosen at random from Eleanor Watson’s special series of four beautiful monotypes for our Crowdfunder, each one unique. Ellie was our Graduate Prizewinner in 2019.
