The rebranded Imprint Art Fair is a delight, retaining the casual and informative atmosphere of the original Woolwich Contemporary Print Fair, but in a far more central location.
This edition features a characteristic mix of galleries, collectives, and a curated open call, in addition to two spaces for live printmaking demonstrations across screenprint, intaglio, and relief. Institutions like Tate and the Royal Academy of Arts also feature among the exhibitors.
The offerings are generally very good. I noticed a strong presence in collagraphs, monoprints, and monotypes, perhaps revealing a current trend in accessible printmaking techniques and a desire for a more painterly aesthetic in print.
As usual, the fair also showcases 3D works that incorporate printmaking, but they seem to have pulled the reins in a bit on their position regarding 3D-printing.
Overall, a fine debut for a new identity.
Here are my highlights:
Allen Jones, Maîtresse I, 2015-16, screenprint (Advanced Graphics London, stand 22)
Qinlin Yang, Coffee Shop, 2015, mezzotint (Discovery)
Lucy Bainbridge Mokulito prints (Bainbridge Print Studio, stand 4)
Charlotte Brown, Untitled (Vessel II), 2026, lithograph (Discovery)
J.G. Fox, Elevation of an Art Museum (Ransacked), 2022, archival print on etching paper with hand finished watercolour (TAG Fine Arts, stand 16)
Olivia England, Palm Of Your Hand, 2026, aquatint and collagraph (Revue Studios, stand 23)
Abigail Norris, In the Shadow of her Wings, 2025, trace monotypes (Julian Page Gallery, stand 15)
Marion MacPhee, Whale Fluke, 2026, monoprint (Oliver Projects Gallery, stand 27)
Merlyn Chesterman, March 7th, 2026, woodcut on paper, in collaboration with Sally Byron-Johnson (photographer) (Eames Fine Art, stand 28)
Maria Simonds-Gooding, Dividing Boundary, carborundum on Indian paper (Graphic Studio Dublin, stand 32)
Imprint Art Fair (29 October – 1 November 2026) is at Lawrence Hall, London, https://imprintartfair.com/
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