How do you describe what you do?
I’m a printmaker specialising in linocut, screenprint and monoprint methods, sometimes combining all three. The process behind each print is really important to me, with this hopefully visible in some of my work. My lino prints and screen prints use block shapes and solid lines to create graphic and bold figurative/portraiture designs. My mono prints, in contrast, are often slightly softer in their edges and colour palette. Both styles, however, lend themselves well to having an element of fluidity and chance. Though predominantly a printmaker, I love to try and apply my style to different mediums as a form of experimenting and learning new ways of working.
How did you get started as an artist?
I guess my creative development really began during my Art & Design foundation course at college, where I discovered the complexities and processes of a wider range of printmaking methods. This led me to pursue a degree in Fine Art at Kingston School of Art. I have only recently begun to consider myself an ‘artist’ a couple of years after graduating, through making work with a purpose beyond the realms of education. With this freedom, I’ve felt I have had time to establish who I am as a printmaker, and no longer as an art student.
What makes your work and/or process unique?
As a printmaker, I’d consider myself to work in two quite contrasting styles, which I suppose is a little unusual. However, I find being able to switch between the two ideal, in that I can work in a way that is dependent on how I might be feeling creatively at the time, or what the purpose of the work is, be it experimental or something more polished. I enjoy the element of chance that encompasses my work, whether this be within my linocut prints that begin as blind line drawings, or my monoprints that produce final patterns and colours I can’t pre-determine or reproduce.
What would your top tip(s) be for anyone considering taking up a career in the arts?
These are just a few things I try to remind myself of:
Be open minded to new ideas and have a willingness to experiment and
collaborate. Trying and realising you don’t like something is just as important as
realising that you love something.Don’t put too much pressure on yourself to have a ‘signature style’. Everyone starts somewhere different in their creative development, whether you’re a complete novice or well established. I often remind myself, so long as what I’m creating is something I enjoy and am proud of, the rest will follow.
View a creative block, or break from making, as something positive, not negative. Taking that break is sometimes what you need to get yourself going again. Reading, researching and talking to other creatives is a way of being creative without having to make work, so don’t worry that you might not have something to ‘show’ for it.
What piece of work or project are you most proud of?
I recently had my work selected to be sold as part of DrawFor, an initiative that raises money for charity by artists donating artworks to be printed and sold in aid of NHS Charities Together. I feel proud to have been a part of something that is helping such a worthy cause during such difficult times. The thought of people being able to purchase my work to display in their homes is really exciting!
When you have the dreaded creative block, where do you get your ideas and inspiration from?
If I’m struggling for ideas or motivation to make, the first thing I do is reflect on previous work; what I like or don’t like about it, what was successful or what wasn’t etc. This helps me look forwards to new ideas to get myself out of a block. I also refer to online printmaking blogs and publications as well as printed magazines, where I love being able to read about process and materials.
This helps me develop better and more efficient ways of making. Instagram is also a source of ideas. It’s a brilliant way to discover other artists, both emerging and well established, that you might not otherwise come across. It’s also great to be able to interact directly with other like-minded creatives.
What other artist or maker do you admire and why?
- Gary Hume for his use of colour, shapes and materials.
- David Shrigley for his humour and wit.
- Grayson Perry for his undeniable honesty and boldness.
- Patrick Caulfield for his realistic simplicity and use of everyday subject matter.
- Marylou Faure for her contemporary celebration of the female form.
- Henri Matisse for his cut-out series that showcases his great use of colour, shape, form and process.
Any books on your shelf or exhibitions and events coming up you can recommend?
If you’re interested specifically in printmaking or creative processes, Pressing Matters magazine is a great visual display of all things printmaking as well as showcasing amazing artists through written articles; I’ve recently bought myself a few issues. I have an interest in graphic design and print publications, so Posterzine is a fantastic and affordable zine for colour, presentation and image inspiration, with each issue doubling up as a poster, which is a real bonus!
During lock-down, there's some great collaborative online exhibitions and events that I’ve come across and been lucky enough to participate in. Quarantine Zine, for example, offers a brilliant, creative community spirit during a difficult time, with work being submitted from all over the world. DrawFor is an amazing initiative selling prints of artists’ work with the profits going to NHS Charities Together - offering both inspiration and the ability to buy limited edition prints.
Why is Colchester Makerspace important to you/or and your work?
I love the creative community it provides, even more so as there isn’t anything quite like it in my home town. I’ve found the team who run the space, and also the members, to be really encouraging of one another, be it in the space itself, or online. This is great when you might be interested in trying a new skill or testing out new ideas. Colchester Makerspace also gives me the freedom to work independently by providing me with materials, such as printing screens and presses, that I just couldn’t have access to at home.
You can find Olivia’s work for sale via her Etsy page.