Laura Boswell is a printmaker working exclusively with linocut and traditional Japanese woodblock printing. She has a degree in Art History/Visual Art from the University of Wales, Aberystwyth and has been elected to the Royal Society of Painter Printmakers.
Laura has attended three printmaking residencies in Japan, studying woodblock printmaking with master craftsmen. This spring she spent a month in Tokyo with three fellow artists and collaborated with two exhibition events at 3331 Chiyoda Arts Centre, Tokyo. She was selected as one of five British artists exhibiting at the Ulsan International Print Festival in South Korea this summer. Her book ‘Making Japanese Woodblock Prints’ has just been published by Crowood Press.
Laura’s work often references a traditional Japanese aesthetic in its use of white space, her colour choices and minimal approach. She shares the Japanese appreciation of rigorous training; her work often displays impulsive line and brushwork, requiring meticulous cutting and printing to give the impression of fluid spontaneity. In addition to her printmaking, Laura teaches, writes a monthly column for Artists and Illustrators Magazine and works on the occasional public art project. She also co-hosts the weekly podcast ‘Ask an Artist’ with fellow artist Peter Keegan.
Laura’s prints feature in national collections including the Buckinghamshire County Museum, The House of Lords and the Library of Wales. She also has prints in the Nagasawa Art Park collection and the MI-Lab Print Collection in Japan.
Laura speaks a little about her work, processes and inspiration: "My primary interest in creating prints is to work with shape and colour. My subject matter is the rural landscape around me and, while I make observational drawings and photograph in the landscape, the design drawings that result in prints are very much my own creation in the studio. I am not particularly interested in producing an accurate reproduction of a specific site. I prefer to try and evoke a sense of place that is less about geography and more about mood and my chief ambition is provide enough space and ambiguity for the viewer to make the landscape their own. It is for that reason that I try never to add buildings or figures to work: preferring to leave the print empty ready for the viewer. Unless I am working on a public art project, I work only in linocut or Japanese watercolour woodblock. I constantly strive to push these two processes in new directions, always manipulating the techniques to suit the images I intend to create rather than fitting my ideas into the demands of the print process.
My two residencies in Japan to study the traditional methods of Edo Period Japanese woodblock printmaking have had a profound effect on my work, both visually and in disciplining my approach to printmaking. I am currently experimenting in linocut with many layered prints using transparent colours to catch a more immediate and painterly feel. I am also working on a small series of entirely traditional Japanese prints, cut into cherry, cutting a fine detail line or key block and producing the blocks and prints exclusively by Edo period methods."
Presented by Bils & Rye