All posts by Lois Wakeman

Potter, photographer, writer and a bit of a geek, living in Uplyme, East Devon

Printmakers Open 2019, 9/2/2019-27/2/2019

The main art event this winter at the Town Mill Galleries in Lyme Regis will be the hosting of a fourth Printmakers Open, running from 9-27 February. The success of the previous Opens, in which over 40 printmakers from the South West took part, encouraged an expansion into a second gallery last year.

Both galleries will once again be showcasing the full gamut of printmaking techniques and subject matter in 2019, and for all lovers of printmaking, a visit to the Malthouse and Courtyard Galleries in February will be an essential date for your diary.

Sue Lowe – What Remains II, monotype

Open daily 10.30-4.30; free admission.

Read an article from Dorset Magazine here (PDF file).

More about some of the techniques

As anyone who’s ever tried it knows, printmaking is a highly skilful art form that offers its practitioners numerous ways of working, from the exceedingly detailed and time consuming to the immediate and serendipitous. And whichever process is used, the resulting image will be very distinct from what drawing or painting alone can achieve.

Of the many processes on display, there will certainly be some monotypes.  These are created by drawing or painting directly onto a rigid plate, and then transferring the wet image onto a sheet of paper by pressing the two together (using a printing press or, as I have, the back of a wooden spoon). Having absorbed the applied picture, the resulting paper print, like Anita Reynolds’s atmospheric Low Man II, is unique.

Anita Reynolds- Low Man II

Pretty much the reverse of each other are relief and intaglio prints.  Relief prints are ones where you cut into the surface plate to rid it of the areas you don’t want to appear in the print and ink the remaining surface, transferring it onto paper using pressure. This technique produces bold graphic monochrome woodcuts like Carolyn King’s La Glace and vivid polychromatic linocuts like Liz Somerville’s The Land of Nodd, which was hand-coloured after one pressing.

Liz Somerville – The Land of Nodd, linocut

By scratching lines into the solid plate, inking the whole surface and then wiping the surface ink off, you are left with ink only in the ‘lines’ and this is an intaglio print, as is Paula Youens’s Silent Orchard, in which Paula has used laminated paper as the plate which she has scored, cut and peeled to create the image. Etchings, drypoint and engravings are all types of intaglio printing.

Richard Kaye and Terry Jeavons are two of the printmakers whose work at the Open will be represented by screenprints.  In this technique, there is no direct contact of plate and paper, but rather a screen mesh intervenes and inks are ‘squeegeed’ in layers through the mesh unless stopped by stencils, paper or liquids that block off areas. Terry’s ‘Thameside’ prints used his own photographs as a starting point, and, similarly architectural, Richard Kaye’s hand-tinted screen prints focus on bold silhouettes against the sky.

Richard Kaye – Waterloo Station, screenprint

Printmakers are keen to point out that a print is not a Xerox copy, for even when you re-use a plate to make subsequent versions, each ‘print’ is original, because each one will be different due to variables in the hands-on process of printmaking (e.g. the mixing and application of inks, the wiping off of surfaces, or colours added by hand only after the impression is made.)  While making prints, one also has to remember that in most cases, as visible in the photo of Paula Youens’s drypoint Hilltop Farm, the image worked on the plate will be printed in reverse…which keeps printmakers on their toes!

If these images have stirred an interest in printmaking, you might want to consider a workshop or course at Double Elephant in Exeter (check them out on and of course do visit the exhibition!

Priceless, 26/01/2019-3/02/2019

The Malthouse Gallery is proud to host again this annual exhibition of painting, sculpture, graphic design, photography, animation and video created by students of all ages from Lyme Regis’s Woodroffe School.

Open at weekends only, 10.30-4.30. Free admission.

Private view from 6-8pm on Friday 25th – all welcome

More about the work on show

Students were asked to write about their work, and here are some descriptions:

Neve Wellman –  Lyme Seafront- Inferred

This is a depiction of the Lyme Regis sea front, painted in luminous acrylic paint. The harsh intensity of the paints used was the secondary focus, portraying life and vibrancy into a dusky evening scene. Thus, the harmonious combination of cool blues and vivid reds lends itself to the atmosphere of the piece, creating drama whilst also highlighting the lamppost as the focal point. Consequentially, the manipulation of light was central to my ideology, illuminating the various tones and evoking a positive viewpoint.

 Georgina Mackey – Rider’s Walk

From exploring the creation of graphic posters, I used photoshop to produce the ground base of my own, which I then furthered into creating a three dimensional piece by using a selection of glass frames. I took inspiration from posters such as, “Rebel Without A Cause”, “The Lost Trail” and “The Sundowners”, incorporating certain items of each to create my final piece.


This is a collagraph of the Centraal station in Amsterdam. The focus of this project on the concept of identity, following on from a study in landscapes and townscapes.  For this piece I decided to combine the two, deciding to portray my identity of being half Dutch, also my recent trip to Amsterdam with my classmates, through a recognisable piece of Dutch infrastructure. I used a variety of materials such as plastic bags and corrugated cardboard to create a variety of textures that would effectively convey the variety of elements contained in the image, such as water and stone. By layering various colours of ink I had created an image that resembled the station as if in ‘golden hour’, with a gradual blend between blues, oranges and reds, with a stronger use of black to solidify the structure itself.

 Gemma Bowditch –  Lazy Cows

I came up with the painting lazy Cows by picking a photograph that I took, I choose the cows because of how they addressed the viewer and I felt that it would be perfect to paint. I chose to go for a large canvas because I felt it would make the cows eye catching from a distance. The whole painting took me around 30 hours to paint and I had to be precise when I painted but as I began to finish I could be fun with it as you can see by the cow parsley at the bottom.

Focused, 5/1/2019-3/2/2019

Inspired by several successful photographic exhibitions held in 2018 and by the number of talented photographers in our region, the Town Mill Galleries are proud to host a new wintertime showcase of recent work by nine Dorset and Devon-based photographers, including John Marriage, Tom Gladstone, Moya Paul, Pete Hackett, Terry Jeavons, Tricia Scott and Roger and Daniele Bradley.

Blow away the winter blues with some uplifting abstract and representational imagery!

Open daily 10.30-4.30. Free admission.


Winter Art Sale, 29/12/2018-23/01/2019

Mixed exhibition by TMA artists and craftspeople – every year, studios are searched for work to sell in our Winter Sale.

Instead of buying mass market goods in the big store sales, why not spend your Christmas money on some original art or craft Not only will you get something different and unique, but you may also pick up a bargain, especially if you get here early!

Open daily from 10.30-4.30, with free admission.

Unwrapped 2018, 8/12/2018-27/12/2018

This year’s seasonal exhibition features a selection of contemporary local art and craft to inspire you, whether you are treating yourself or buying a gift for someone.

Open daily, 10.4-30-4.30 except Christmas day; free admission.

Pop-up Vintage 2018, 1/12/2018-27/12/2018

Popping up again in the Courtyard Gallery at the Town Mill in Lyme Regis. We are open from Saturday 1st December to Thursday 27th December, excluding Christmas Day and Boxing Day.

Opening hours: from 10.00 a.m. to 4.00 p.m. Free admission.

Pop-Up Vintage spends the year sourcing, cleaning, mending, repairing and up-cycling so that you don’t have to!

We have toys, books, clothes, needlecraft, accessories and homeware for a beautiful and totally-sustainable Christmas.

Son and Mother, 29/11/2018-5/12/2018

A joint exhibition of Mother and Son who work in similar colour palettes, media and inspirations but create quite different interpretations.

The bulk of work in this exhibition is oil on canvas with some sculpture, prints and film to represent Benjamin’s mixed media creativity.

Benjamin Clegg:

With 30 years’ experience as a mixed media Artist, Benjamin has returned to his roots with painting after a long gap exploring other media; 20 years running an event lighting business, 30 years creating bespoke creative spaces, functional art, sculpture.

Painting with Light is his most recent expression being a evolution from lighting events and becoming a Light artist.   His inspirations have always been nature and landscapes being interpreted through abstraction, texture, large scale, and high energy colour palettes. His work has always been large, with a metre square being as small as his canvas tends to be.

Ben feels that what he has to say in his work is less important than other people’s reaction. He is the biggest fan and paints for himself as a form of self therapy and expression, but when other people find something they resonate with from his work, then this is fantastic and gives him great reward.

Angela Clegg (Fahey):

Angela Fahey is an expressionist painter living and working in the South West of England.   Inspired by the natural environment and how we live within it, she seeks through colour and form to abstract the core elements of a scene or situation and create a balanced image that reflects her experience of that place.


“Colour has been a dominant visual force from childhood and I remember asking, aged five, to have a reproduction of Van Gogh’s boats I’d seen in a magazine to hang on my bedroom wall.

Later, decorating the family home explored the effects produced by different shades and tones on how light is reflected and the atmosphere it creates.   Then, with the family becoming more independent, pursuing a degree in Art and Design, English and Philosophy as a mature student was a freeing experience and led to a 20 year teaching career.

More recently, my energies have focussed on expressing a response to a particular scene or situation through art.  The West Country provides a rich source of creative inspiration with its wild moorland and rocky coastal areas and in my paintings I endeavour to catch that elusive element that first attracted me.   Working in oils enables vibrant and textured application of paint to produce a dynamic image through colour and form.

While my work is a personal expression of what I see it is, nevertheless, rooted in a structurally observed representation of the subject that I then work to reduce to its basic elements.   Buildings and openings create tension and frequently lead me to explore intangible depths through layers of colour which I may then scrape back until the balance feels right.

Each painting is a journey of discovery, rarely achieved quickly, and aiming to create a dynamic whole that invites the viewer to consider further.”

Animals in Mind, 22/11/2018-28/11/2018

Featuring three friends who met while studying animal sculpture in clay with Brendan Hesmondhalgh in Yorkshire.

Hilary Bradt

“Animals have always been my subject: I love the combination of skeletal consistency with the excitement of working in a wide variety of media. I progressed from wood to stone carving, then to clay, but I when I get the chance I particularly enjoy forging and welding scrap metal for the challenge of achieving an animal likeness with the most unlikely materials.”

Hilary is a travel expert, publisher of the Bradt Travel Guides, and has been awarded an MBE and Lifetime Achievement Award. She lives in Seaton.

Pat Greenland

“From childhood the three dimensional form has attracted me and I have used several media for sculptures but I find the plasticity and strength of stoneware clay superb for bringing to life the animals I find endlessly fascinating.  Finding attitudes that express personality and often humour, the tenseness of the body and muscles, all this I try to achieve in each piece.

I’ve spent most of my life in the New Forest and have worked, amongst other things, as artistic director for garden ornament companies and have produced definitive models for dog and horse breed societies.”

Penny Ireland

“I started sculpting the human form at the Mary Ward Centre in Bloomsbury but became intrigued by the similarities as well as differences in morphology across the animal kingdom. I like to undertake less familiar subjects and try to use a study of their evolution as part of the creative process. I have worked with wire, wood  and plaster but clay is my favourite medium.  The malleability allows for detailed features to be incorporated and the glazing provides the opportunity to experiment.”

Penny is Kentish and spent most of her career working in scientific research centres in Kent and London, latterly at the Royal Veterinary College where daily access to the skeleton collection in the college museum could bring on inspiration overload.  She now shares a house with a friend and former colleague near Axminster.