Open Tuesday - Sunday 11 - 4
4 North Street, Lewes, BN7 2PA
And Then Spring
Pigment prints by Alej Ez
This February, amidst the chill of winter, my show explores the anticipation and renewal of Spring, with its vibrant hues and fresh energy. My featured print, And Then Spring South Downs Way, captures the early blooms of gorse and rapeseed fields along the iconic South Downs, one of my favorite Sussex landscapes. This route, where the chalk cliffs meet the sea, is a dynamic and evolving scene that I find endlessly inspiring.
In creating this print, I follow a traditional printmaking mindset: I start with detailed monochrome ink drawings, scan them, and then add color digitally. Each piece is a fresh exploration, as I don't adhere to fixed colorways but enjoy experimenting to bring the landscape to life.
Often, during my walks, I find myself connecting the landscapes I see with the works of other artists. I'll think, "This is a very Ravilious subject," or "This harbour has a Julian Trevelyan quality," or "This pond feels like an Ivon Hitchens scene." Viewing the world through the lens of artists I admire enriches my experience of the landscape, making it more vivid and meaningful. These moments resonate with me long after my walk, influencing the work I create in my studio.On the drawing board, I'm also deeply aware of the artists who have shaped my practice—whether it’s the delicate flowers and trees in Hokusai’s woodblock prints or the ethereal luminosity of Samuel Palmer's landscapes.
To me, artistic creation is an amalgamation of new ideas, grounded in knowledge and experience. I strive to bring that understanding to my work, integrating it with my own perceptions of the world around me.
During my featured artist show in February, I will also be hosting a conversation event titled Art Printing Technologies: Then and Now. At this talk, I’ll explain how my journey into traditional printmaking began after I moved to Brighton in 2011. Coming from an architectural background, where I combined hand sketching with computer-aided design (CAD), printmaking introduced me to a whole new way of thinking about mark-making and the artistic process.
The integration of traditional hand sketching and modern CAD technology in my work has been incredibly rewarding. It allows me to combine the precision of architecture with the fluidity and expression of art. However, it was my exploration of traditional printmaking techniques—such as foil lithography, stone lithography, linocuts, colographs, and cyanotypes—that truly expanded my creative practice.
Each printmaking method has its own unique qualities. For example, the fine grain of stone lithography provides a subtle texture, while the bold lines of linocuts create a striking, defined effect. I love how each technique transforms when transferred to paper, leaving behind a distinct impression that can only be achieved through hands-on, meticulous work. This process of mark-making gives my prints a depth and richness that speaks to the tradition of printmaking, yet it also allows me to explore new possibilities in my art.
