Latest Artlab News

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Artlab Contemporary Print Studios is a practice based research unit where printmaking connects with other creative disciplines and discourses. The focus of the research unit is contemporary printmaking through expanded practice, where international partnerships, collaboration and experimentation is at the core.

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Facilities and equipment

Artlab CPS sudios is a unique mix of tradition and innovation. The studios are run by experienced staff of expert artist printmakers who can provide guidance and technical advice on all aspects of printmaking……….
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Lead Artists

The unit is led by two experienced artist-researchers Tracy Hill and Magda Stawarska-Beavan who use printmaking as a significant element of their practice. Artlab is an environment for practitioners to develop, debate, discover and create, applying traditional methods and new technologies. We are open to developing contacts with other practitioners and institutions and strengthen our existing connections………..
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Artlab’s creative approach into processes and developing technologies underpins the production of high quality artworks and artistic excellence. Two experienced artist-researchers, Tracy Hill and Magda Stawarska-Beavan, who both use printmaking as a significant element of their own international research practice, lead the unit. Our long-term vision is to promote contemporary print through an ethos of exploration and cross-disciplinary research approaches linking tradition and innovation. We are open to develop projects with other practitioners and multidisciplinary artists whose practice encounters innovative printmaking.


Housed within the University of Central Lancashire’s Victoria Building our specialist printmaking facilities sit at the centre of the campus amongst multi-disciplinary studios, research centres, exhibition spaces and extensive creative workshops. The unique facility provides a creative space and professional expertise for artists to develop projects where printmaking is an essential element within expanded practice.


Facilities and Equipment


Artlab CPS studios is a unique mix of tradition and innovation. The studios are run by experienced staff of expert artist printmakers who can provide guidance and technical advice on all aspects of printmaking.

The inspirational and welcoming atmosphere promotes experimentation and innovation as well as a particularly high standard of production in all areas of printmaking including: intaglio, relief, lithography and silkscreen.

The very well equipped Intaglio studios offer opportunities for etching aluminium, zinc and copper using metal salt etching etch techniques as well as intaglio type and polymer films. Our silkscreen studios are equipped to produce hand cut stencils, hand drawn autographic images and digitally produces photographic positives for screens.

Dedicated relief presses enable the production of traditional lino, wood and collagraph plates while our lithography studios are equipped for offset plate and direct stone lithography.

Intaglio Presses x 3


3 presses, maximum plate size: 98 x 120 cm

Letter Press


Stephenson Blake, bed size approcimately : 60 x 70 cm

Columbian Relief Press


Maximum plate size: 95 x 66 cm

Off-set Litho Press


3 presses, maximum plate size: 60x 84 (A1) including: Hunter Penrose Ltd and Geomann + Co Ltd

Direct Litho Press


Maximum stone size: 54x 46 cm

Large Screenprinting Tables x5


Max screen size 120 x 90 cm

Large Exposure Unit


Max screen size 120 x 90 cm

Large Drying Cabinet

Max screen size 120 x 90 cm

Lead Artists


Magda Stawarska-Beavan

Magda Stawarska- Beavan is a multi-disciplinary artist whose practice is primarily concerned with the evocative and immersive qualities of sound. She is interested in how a soundscape orients us and subconsciously embeds itself in our memories of place, enabling us to construct personal recollections and offering the possibility of conveying narrative to listeners who have never experienced a location. She works predominantly with sound, moving image and print, often connecting traditional printmaking processes with digital audio.

Read more about Magda

Amongst Stawarska-Beavan’s recent projects exploring the shifting sonic and visual identities of cities are Translating the City (2019) Resonating Silence (2019), East {hyphen} West; Sound Impressions of Istanbul (2015), Seas Apart – Bosphorus (2018), Who/Wer (2017), and Kraków to Venice in 12 Hours (2013). They not only reveal intimate glimpses of the singular urban soundscapes of places but also interrogate their cultural complexities, exploring the blurred boundaries between public and private and probing the notion of physical and political borders as points of connection and signifiers of separation. Through her collaborations with other artists and writers and their ‘retelling’ of her audio collages, her work explores the process of ‘inner listening’.

Her recent exhibitions include:

Reduce the Time Spent Holding – Commission of 8 min sound piece for headphones and soundtrack for Lubaina Himid exhibition Work from Underneath, New Museum, New York, USA (2019); INVISIBLE NARRATIVES; New Conversations about Time and Place, Newlyn Art Gallery, UK (2019); Tales from Water Margins; 4th International Biennial of Casablanca, Morocco (2018); The International Print Triennial 2018 – Bunkier Sztuki, Kraków, Poland (2018)
Sounds Like Her, New Art Exchange, Nottingham and UK touring (2017-2019); Guanlan International Print Biennial in Shenzhen, China (2017, 2015);10th International Biennial of Contemporary Print, Liege’s Museum of Fine Art, Belgium (2015)

Tracy Hill

Tracy Hill’s cross-disciplinary practice investigates and reconsiders the relationship between our developing digital capability and the aesthetic and traditions of the hand created mark.  Current investigations consider the historical legacy of spatiotemporal, post-industrial landscapes through combinations of installation, print and hand drawn imagery.

Through her work Hill reconnects with experience, knowledge and memory of the physical encounter of travelling on foot where our digital and physical worlds overlap.

Read more about Tracy

Recent projects exploring liminal post-industrial landscapes are Sensorium and Matrix of Movement, which explores a modern obsession for locating, ordering and fragmenting journeys through digital mapping.  Experience and memory are reconnected to the physical landscape exploring our relationship with travelling on foot across our landscapes. Partnerships with organisations such as the Wildlife Trust UK and National Parks NSW Australia on her recent project Common Ground and international residency in Newcastle NSW Australia have allowed a re-imagining of protected wetlands through critically engaged practice.

Hill’s work has been exhibited nationally and internationally. In 2016 China Printmaking Museum purchased ‘The Waste’ for inclusion in their permanent Fine Print collection. Works from ‘Sensorium’ were also awarded the Printmaking Today prize as part of the 2016 Print Prize RBSA gallery Birmingham. In 2013 Hill received a commission to design and produce a permanent site specific installation as part of the Festival of Contemporary Art in Warrington exploring lost pathways along the Mersey corridor.

Recent exhibitions include: Every Breath, The Lock Up, Newcastle, Australia; Common Ground, The Curve Newcastle, Australia; Common Ground, Editions Ltd, Liverpool; Guanlan International Print Biennial, Shenzhen, China; Bound by Process, The Harris Museum and Art Gallery, Preston, UK; Print Prize International, RBSA, Birmingham, UK ; V. International Print Exhibition, the Painting and Sculpture Museums Association, Istanbul(2016) Statements, Kloster Bentlage, Germany; On Paper, Sala Romona, Barcelona, Spain; Guanlan International Print Biennial, Shenzhen, China (2015)  Antipodean Cuts, Curve Gallery, Liverpool; Penpal, Brieffreundschaft, Kolner Graphikwerkstatt, Koln; International Print Triennial, Bunkier Sztuki, Krakow (2012)

Collaborative Projects



The AA2A project provides placements for visual artists and designer makers in Higher and Further Education institutions across England. In 2016-2017, AA2A schemes will run in 20 institutions, providing around 80 placements nationally. In the last 17 years, around 1,760 participants have realised projects and researched techniques using workshops and supporting facilities in participating fine art and design departments.

To read more vist:  and

Permanent Print

The Permanent Print research project is a partnership between the Artlab Contemporary Print Studios and the Silicate Research Unit based at the University of Central Lancashire.

We are interested in all forms of print research using print combined with refractory concrete, ceramics and glass.

Our aims are to further this under developed area using multi-disciplinary practice based methods to explore the full possibilities of combining image, surface and form.

Print and Ceramics have a long history of working together, often with print applied to a form after it has been designed and produced in ceramics.

This relationship has been widely recognised by both disciplines and there have been a number of very successful symposiums that have explored the relationship between printmaking and ceramic production over the years, however the nature of this relationship means that printmakers are often removed from creating form.

The Permanent Print symposium has been an opportunity for artists, printmakers ceramicists and designers to use their individual skills and experience to explore the possibilities of working across these ancient disciplines from the very start of the making process.

We have held two symposium’s at UCLAN where artists, printmakers, ceramicists and designers came together to research over multiple days of intensive practice led research and experimentation.

To read more vist:

Artist’s book and record labels

We continuing developing and supporting Artists’ book projects. We have a history of producing limited editions for record labels. Some of the projects bridge between record sound pieces and visual artefacts.

Supported Artists


John Angus

Indeterminate Portraits

This series of screenprints celebrates the visual effects of half-tone dots in image reproduction, and refers to the role of art in the promotion and maintenance of social and economic power.  The images are derived from details of black and white reproductions in an art history book of photographs of rooms in the palace of Versailles.

John Angus Work


Helen Cammock

Cammock’s practice explores history and storytelling through layered, fragmented narratives using a range of mediums including video, photography, installation, print and performance. She interrogates the ways stories are told, the hierarchy of histories and who is rendered invisible and therefore unacknowledged. With multiple registers of the voice – singing, speaking, poetry – and multiple voices, Cammock ventriloquises; crossing time and place to create associations between cultural and political moments, linking past to present. Her work is prefaced by writing, borrowing the words of others to use alongside her own as a way of re-telling histories that have been silenced, unheard, unrecorded and untold in favour of the generalised, dominant histories we read, teach and tell today. Her work is often based on research, found materials and conversations the work creates intersectional dialogues that look at singular and collective power, questioning the role of the individual and asking us to consider where we sit within the political and social spaces we inhabit.

Helen Cammock's Work


Jenny Steele

Jenny Steele is a Scottish artist currently based in Manchester. Her work references 20th Century architecture, most recently coastal mid war architecture and design. She is interested in how mid war design embodied utopic hope for the future, and seeks to revive its positive restorative qualities through her practice that encompasses printmaking, sculpture, drawing, textiles and site-specific artwork.

Recent solo exhibitions include; Why be exotic in private?, The Foundry Gallery, London (2018), This Building for Hope, The Midland Morecambe (2017), Too Much is Never Enough, The Breakwater, Miami, USA, This House for Building residency and exhibition at The Tetley, Leeds (2017). For these recent projects, Jenny Steele has used Art Lab Contemporary Print Studios to screen print on paper and fabric, often combining these into large installations.


Jenny Steele's Work


Theresa Taylor

Theresa Taylor is a multi-media artist often working with print, and a range of other materials.

Her work sits mutably at the intersection of the internal and external worlds, with an emphasis on taking research from the natural world, she is interested in the aftermath of life experiences and the unconscious impressions remaining.

She is interested is ‘spaces’ that contain atmospheres of what has been and gone, a subjective experience of time passing and the incessant flux of being alive. Her research has led her to under the sea projects where she has taken video and stills data, looking at the ocean as a multi-facetted metaphor with its constant change and watery ‘space’.

Her work is underpinned by psychoanalytic principles referencing her previous professions as both an art therapist and a psychotherapist within the NHS and in private practice.

Theresa Taylor's Work


Cherry Tenneson

Outward journeys must not be in the past

This was a project which consisted of a series of site-specific signs and posters made for Preston‘s transport hubs in April 2015. The project was commissioned by In Certain Places.

The signs and posters referenced the significant amount of British modernist transport signage in Preston and sought to explore how the intended clarity and purity of these modernist designs, originally from the late 1950s to late 1960s, now exist in the present day, if at all. Named after a National Rail error message, the project emphasises the conflicting styles and messages which have developed in the city over time. 

Cherry Tenneson's Work


Anna Júlía Friðbjörnsdottir

Anna Júlía’s exhibition collects its parts into a whole like a well-crafted haiku and her subject is our alienated present and lack of history. On the walls of the gallery we see the covers of travel magazines on slabs of plaster, in effect plaster casts of intaglio plates prepared with purple dye. They advertise tourist destinations in the Mediterranean but the colour purple also has reference to the Mediterranean as the source of purple dye in the ancient world. It was made from a mollusc harvested from the sea, using a complicated method that was lost after the sacking of Constantinople in 1453 and not rediscovered until more than 200 years later. In the ancient world, this was among the rarest and most expensive dyes on the market and people appreciated the complexities of its production. Nowadays we simply pick our colours from a sampler and buy them in tubes or by the bucketful without considering that every colour has its history.

Read more about Anna-Julia

Anna Júlía Fridbjörnsdóttir lives and works in Reykjavík. Her art combines various mediums including drawing, sculpture and video, often using found material. She is interested is the intersection between science and culture and draws on such diverse sources as politics, taxonomy, art history and, more generally, human beings ideas about our place in the world.

Fridbjörnsdóttir completed her MA Fine Art at Manchester Metropolitan University in 2004 (AHRB Award) and a BA Fine Art at London Guildhall University in 1998. She was the founder and co-editor of the contemporary art magazine Sjónauki (2007-2009) and an Associate Director at i8 Gallery, Reykjavík (2008-2015). Her works have been exhibited in Iceland, the UK and in Scandinavia including solo shows at Hafnarborg, The Hafnarfjördur Center of Culture and Fine Art, Harbinger Project space and Gallerí Grótta. She was nominated for the Icelandic Art Price in 2018.

Anna Júlía Friðbjörnsdottir's Work


Rebecca Chesney

I am interested in how we perceive land: how we romanticise, translate and define urban and rural spaces.

I look at how politics, ownership, management and commercial value all influence our surroundings.

My projects take the form of installations, interventions, drawings, maps and walks. 

Heather Ross

All the better to hear you with 

‘All The Better To Hear You With’ centres around the re-activation of an old Jardine Treadle Press, housed at The Merz Barn, Cumbria. The press originally belonged to the late Gwyneth Alban, a contemporary of Kurt Schwitters, who was working alongside him and resident at the Merz Barn site, during his time in the Lake District. At this point, Gwyneth Alban was running her own business and printmaking studio out of an old abandoned caravan that she found in the woods – she called this ‘The Caravan Press’. After her death, her son returned her press, type and archive to the Merz Barn, as a reminder of her legacy.

Read more about Heather

This project has been developed and produced across two sites: at the Merz Barn. Cumbria and with the help and expertise of the printmaking studio at UCLan. My research has focussed on using the press to explore my interest in the ambiguity of sound within print (specifically relating to bird call) – connecting my work with the rural surroundings of Merz Barn and to the ideas of Kurt Schwitters, as expressed in his written works: Consistent Poetry(1923)and typography, orthography and small letters (1928). Formally these texts have guided my approach to printing, in conjunction with the visual design and layout of the book, ‘Kurt Schwitters in England,’ (1958) written, designed and published by Stefan Themerson (co-founder of The Gaberbocchus Press).

Materially speaking, the work has developed into a large scale performative, printed installation, which will incorporate : 160 index card prints; 160 copper etched printing blocks; mobile sculptural cabinets (relating to Gwyneth’s caravan) and twelve wall based, type-set prints.

Heather Ross's Work


Olivia Keith

Olivia’s work produced at Artlab was an element of The Connected City, an In Certain Places project.

This map makes tangible certain memories of Nether Bartle helping them ‘make it through’ into the future.  Made for those who move into housing being built on the ‘empty’ fields in the centre of it and for those who already live in the area who contributed to its making – and as a bridge between the two. Since printing the map it has also become a resource for those needing to name new roads, bridges, villages, schools etc. in the area.

As a novice printmaker trying to print an A1 lino cut on the Columbian Press the patient guidance and technical expertise of Artlab was essential.


Paula Smithson

I am interested in the human condition and how we interact with environment, time, our physicality, our emotions and how we experience these through the art of performance in a space of tension, mood and atmosphere. These ‘charged spaces’ that delight and disturb often experienced from an early age arouse a range of emotions and leave lasting impressions.

This body of work has evolved through drawing on location at circuses and carnivals and is inspired by theatre and performance in particular Commedia de’lla Arte and the Carnivalesque. I am currently working on a series of screen prints de-constructing and re-constructing them to create a series of small-scale dioramas and set designs that re-imagine these experiences.

[Paula Smithson 2018]

Paula Smithson


Conversations / Past Projects


Digital Aesthetics


Digital Aesthetic³ 2012- Exhibition and conference

Tracy and Magda co-curated the digital printmaking part of the exhibition PR1 and Harris Museum and hosted and run community workshops) It showcases the latest and best in digital art through a programme of exhibitions, events and a two-day conference. It is the third and final manifestation of the Digital Aesthetic Project 2001-2012, collaboration between Print Studios, the Electronic and Digital Art Unit at UCLAN and the Harris Museum and Art Gallery.

Bound By Process

Bound by Process created dialogues between 20th century prints from the Harris Museum & Art Gallery collections and work by artists Alex McIntosh, Kathryn Poole, Theresa Taylor and Tracy Hill.   The dual venue exhibition created a unique and diverse collection of works grounded in traditional processes while challenging understanding of printmaking through contemporary fine art practice.

ImpressIt Exhibition



Impressit’ brought together a selection of invited artists in a curated exhibition of works  exploring both traditional printmaking processes as well as works which challenge and redefine the ideas of printmaking and installation of paper works.

Exhibition Harris Museum and art Gallery 2013

Tracy Hill and Magda Stawarska-Beavan, curatorial role, coordinated students placement, coordinated workshops and curatorial talks at the Harris) (5500 visitors /requests to collaborate in the future)

Talking Prints


Talking Prints

Part of the Artlab Contemporary Print programme, Talking Prints was a series of talks by invited artists exploring issues within contemporary printmaking, discussing current research, new developments in technologies and professional studio practice. Each talk was followed by informal conversations and viewing the visiting artist’s portfolio.

Invited Artist:

Frances Disley
Marta Lech
Wuon-Gean Ho
Jo Stockham
Paul Laidler
Richard Noyce
Christina Wrege
Jason Hicklin
Sara Ogilvie

Paul Thirkell
Steven Hoskins
Gerry Baptist
Jadranka Njegovan
Katherine Jones
Bren Unwin
Oran O’Reilly
Keith Brown
Paul Coldwell
Sarah Bodman



Flourish 2018

The Flourish Award was established in 2009 by West Yorkshire Print Workshop to showcase excellence in printmaking from across Yorkshire. Since 2014 the Flourish Award has been open to printmakers across the UK, and to celebrate our 10th year, the 2018 Award will...


THE SIGNATURE ART PRIZE THE PRIZE The Signature Art Prize was established by gallery Directors Isobel Beauchamp and Elinor Olisa in 2007 to celebrate and identify emerging artists’ ‘Signature Style’. They define an artist’s ‘signature style’ as being “that which makes...

Jackson’s Emerging Artist Prize 2018

JACKSON’S EMERGING ARTIST PRIZE 2018 – WINNERS ANNOUNCED! After receiving over 1300 entries and after many hours of deliberation by the Jackson’s Judging Panel,  the winners of the Jackson’s Emerging Artist Prize have been announced. Three category prizes – Painting,...

State of Print- December 2018

A international art exhibition comprised of more than 700 cardboard boxes has landed in Preston. State of Print is currently touring the country and is ever-evolving as artists from each city it visits contribute to it. It is a thought and experience and is a reaction...

Print Symposium

Saturday 5th of May 10am to 4pm Programmed by Magda Stawarska-Beaven and Tracy Hill , hosted by Heather Ross One-day symposium print within expanded practice. Invited artists will be presenting their unique practice and how they encounter and interrogate print as part...

Masters programme 2018

Its aim is to explore and engage contemporary printmaking through expanded fine art practice. Professional guest presentations and practical studio sessions are designed to compliment the studios long-term vision to promote contemporary print through an ethos of...

The Masters Programme

‘The Masters’ programme is a new programme of events to be hosted and facilitated by Artlab Contemporary Print Studios at UCLan.Its aim is to explore and engage printmaking through expanded fine art practice. Each invited artist will give an artist talk followed by a...