The 9th Edition of Woolwich Contemporary Print Fair opens from 21-24 November 2024 at Woolwich Works
“We’ve got over 1,000 artworks. We’ve got an amazing Talks Programme. We’ve got famous names, independent artists, and a public art trail as well,” explains Lizzie Glendinning, creative director of Woolwich Contemporary Print Fair.
The international art fair for original contemporary print returns from 21-24 November 2024 at Woolwich Works for its ninth edition. It presents an alternative model to the traditional art market and aims to challenge the elitist nature of some art spheres.
Lizzie says: “I think a lot of people know how it feels to want to go to certain galleries and find it quite intimidating.
“[Not visiting these spaces] means you are automatically shut out of engaging with some amazing artworks, whereas the nature of our fair, with the different access points, is for learning about the medium or getting hands-on and going to amazing talks.”
At Woolwich Contemporary, the split of work sees half of the artworks shown being presented by specialist galleries and the other half by independent artists selected by industry experts from an international artist open call, who then sit alongside celebrated names in the Curated Hang.
The Curated Hang brings new and unexpected work into the fair while platforming independent, global artists. This year, the selection panel reviewed over 6,000 applications and included interior designer Tolu Adèckó and US artist Simonette Quamina as well as international collectors and institutions, including the Royal College of Art and Bonhams.
The Open Call “was great because it really situated the fair as a global platform”, says Lizzie, and they saw artwork that is “really pushing the boundaries of what the medium can do”.
She adds: “People are really starting to engage with what original print is because it’s often been seen as a lesser medium within the art world. But actually, it’s just as significant – and it’s dynamic in terms of spreading messages, access to culture and bringing in new audiences. I think it’s finally having its day.”
You may ask, what constitutes as a print, and what is an original print? Lizzie explains: “Simply put, a print is an image that has been transferred from one surface to another.
“’Printmaking’ is a broad term that encapsulates a number of fine art techniques and processes, from etchings and monotype to digital and screen printing, in which the artist makes images from a master ‘plate’, ‘device’ or ‘matrix’. This includes digital or photographic work where the image has been transferred either digitally from the screen to paper, or from the negative.”
And an “original print” is a work of art that was conceived as a print in its first instance, as opposed to a reproduction of another original work.
All prints at Woolwich Contemporary are unique or limited edition, meaning that the artist has produced a finite number.
At the fair this year, you’ll find big names in print such as Ian Davenport (Atelier Rose & Gray), Sir Michael Craig Martin (Atelier Rose & Gray), Brian Eno (Paul Stolper Gallery), David Shrigley (Jealous Gallery), Yinka Illori (Curated Hang), Damien Hirst (Paul Stolper Gallery), Katherine Jones RA (Rabley Gallery), Marcelle Hansller (Julian Page), among many more.
And as for Lizzie’s “ones to watch”, she recommends Sergio Suarez – “he’s sent the most insanely beautiful, large scale installations printed on canvas, and he’s just magnificent” – as well as Natasha Michaels and Cat Roissetter. In galleries, it’s Oliver Projects, which is run by southeast London-based Katherine Oliver “who has the most wonderful eye and wealth of expertise”.
She also highlights one artist who uses her body as the matrix to make prints; “it’s this idea of the memory that’s held in the body and how it can translate onto the work,” Lizzie explains.
With every purchase at this year’s Woolwich Contemporary Print Fair, you will also be entered into a draw to win a David Shrigley print.
Talking price points for those who wish to start collecting, Lizzie explains how they have varying price points, from £100 to the thousands.
“We don’t use the word affordable, but we use the word accessible because there are different access points for all different types of people and collectors,” she says.
The ninth Woolwich Contemporary edition also sees the introduction of a Talks Programme, curated by Lizzie in collaboration with CURA Art’s Georgia Powell.
The programme features discussions with art historian Holly Black, How Not to Exclude Artist Parents author Hettie Judah, curator and writer Fatos Üstek and House & Garden’s Fiona McKenzie. The talks will tackle everything from motherhood and making to creative access in interior design and the future of art collecting.
Woolwich Contemporary aims to create familiar spaces for people to engage with artwork, as Lizzie outlines. And she says that having a good experience with accessible art can help individuals gain confidence to then seek to view even more works of art on their own.
The fair can be a “first step into accessing visual culture”, she adds.
Woolwich Works, The Fireworks Factory, Royal Arsenal, SE18 6HD
All images by Lucy J Toms
