Q & A with Pressing Matters Magazine 2023

 Where are you based and where do you print from?

I live in an old Yorkshire farmhouse in Jackson Bridge near Holmfirth, and my printmaking studio is in a stone barn behind the house, over a pretty courtyard garden. It’s very peaceful, I can see goats, hens and horses in the farmyard and fields behind me. It’s not a bad place to be! I have a studio inside the house too, filled with antique furniture, painted glass cupboards, my large collection of art books and three overflowing plan chests. 

Holmfirth, my local town, is a creative hub. There are plenty of events going on throughout the year, and I exhibit at the Sculpture Lounge there in the summer. 

We’re extremely lucky to live near the Hepworth Gallery and only twenty minutes from the Yorkshire Sculpture Park, which is one of my favourite places and hugely inspiring. 

– Do you have a background in art / making?

I have always been obsessed with pattern, colour and drawing as a child. I was never far away from my pencils, felt tips or a pair of scissors!  My mum is very arty, she was always knitting, sewing, baking or painting. It obviously rubbed off on me. 

My passion for printmaking began in 1992 when I was studying on my foundation course. My first printmaking teacher Frances Noon taught me how to make etchings, and from then on I was hooked, it has always remained central to my work. I studied Fine Art at the University of Reading and spent a lot of time in London during these four years with other artist friends. One of my friends at the time went to the Royal College of Art. I instantly knew this was the place I wanted to go after seeing the printmaking studios there.  I was lucky enough to get a place and to study for an M.A, which was an experience that has shaped my life ever since. 

– Could you talk a little about your printmaking practice and creative process? & – Where do you start when composing an image for a print (cutting, sketching, planning)? & – The line work and mark-making in your prints give then a sculptural feel, how did you develop this 


I have always been fascinated by the techniques and formal qualities of printmaking and how it seems to have endless possibilities. After working in etching during the nineties, and only working in black and white, I was introduced to screenprinting during my time at the RCA in 1996 and it was a medium I became obsessed with. The freedom of colour was the main appeal, and the way prints emerged slowly over a period of time interested me; I had an immediate love and an engagement with the process.

In 2010 I started to create screenprints that had the look and feel of pencil drawings, with particular emphasis towards hand-drawn marks combined with interactions of subtle colour. I started experimenting with the transparency of the inks, overlaying to create 

something very quiet and calm, something that felt much softer and more tactile. 

Today, while some prints are made using only drawn stencils, other stencils have a combination of different textural surfaces, by scraping and scratching away the drawn marks with a scalpel knife. I work on mark/grain resist film, usually with chinagraph pencils and indian inks to create the separate stencil layers, which are then transferred to the silkscreens before printing begins. 

I try to work intuitively, not getting too hung up on ‘designing’ a print, but inevitably I end up working out several print ideas to work as a series. I decide what size suits and fits the work, never the other way around, then begin making the stencils to start the next process. 

I like the element of chance while printing, it’s what makes it interesting, it holds that little bit of printmaking magic and the joy of the unknown.

When the prints are complete I sometimes hand render them in conte crayons or karima coloured pencils to add another detail. 

My process has become quite organic recently. I like to rework things, interweave things, by which I mean that older works evolve into newer ones. Prints often have their own origins, but recently more of my work comes directly from existing pieces. Especially since I began making the small unique spontaneous prints on old book pages. These have become a great visual diary for me to work from, they’re a great catalyst for new works.

– Can you tell us a little about your prints on old books/papers and collage work too?

A few years ago I began experimenting by printing on found paper and old books. They really seemed to flow and I now enjoy making them almost more than my usual work. They’re a kind of by-product, made while I’m printing editions on paper, so totally unplanned. Small marks, creases and dappled mouldy patterns on the old paper add to a feeling of time worn by nature. Something you can’t recreate, and with a subtle beauty of its own. It’s a new way of working for me; a kind of thinking on top of words, working over the pages of books at the end of their lives. Something more spontaneous and recycled.

I began to collage some of them together. I like feeling my way around a space, using fragments and leftovers to build something new. Each collage is about balance of colour and the interactions of the shapes within the rectangle. Re-ordering pieces becomes the subject itself, which is very similar to the way I begin making all of my prints.

The relationships between shapes; between movements in shapes, and how they ‘talk’ to each other is also an integral part of my work.  I feel that it is very important to view them side by side, letting them interact with one another. I always have both finished and unfinished pieces in my studio, it helps me to determine connections between works. 

I always try to make work that is calm and joyful at the same time. 

– How did your YSP exhibition come about? Tell us more about the show and your plans…

I was contacted by the YSP in June 2022, which gave me a full year to prepare. It was somewhere I had always wanted to exhibit, it’s a place I have grown up going to, even before it was a Sculpture Park. My mum used to take me for music lessons every week when it was an Arts college, and we often looked at the ‘Family of Man’ sculptures by Barbara Hepworth on the lawn, and had a walk along the lake. I have always taken my two children Hugh and Kate, (one now in the sixth form and one at university), so it’s a place close to my heart. I was thrilled. 

I am showing over 60 prints in total across the visitor centre on both levels. Most of my prints are from editions, printed by myself on Fabriano Rosaspina. I’m also showing around 20 unique prints on found paper, some with collage, others with pencil.

I have made two donated editions, which will be sold exclusively through the YSP. Being donated, all sales will help provide essential support. 

Some of my prints have been used for merchandise in the shop. It’s lovely to see my work transformed into other things. There’s even a gorgeous woollen blanket made from my print ‘Cornfield Walk’. 

– Do you have music on in studio or listen to podcasts whilst your work? If so, does it impact on your work?

I always have my headphones on while I’m working. I enjoy listening to podcasts; often art related; recently a fascinating one about printmaker Joe Tilson from ‘Marking a Mark’. For the last six months I have been totally addicted to the ‘Bigfoot Collectors Club’. Two American actors and a musician talk to guests about their personal paranormal histories and share stories of high strangeness. I love that it’s not too serious and I’ve always been fascinated with mystical, slightly off-kilter theories and the idea of other dimensions! 

Listening to podcasts is a great stress reliever. I’m working flat out, seven days a week at the moment, so I need to laugh out loud from time to time.

– Does your studio and your location influence your work? & Can you tell us some of your influences, be it in printmaking/art or from wider culture? 

Inspiration for my work often comes from my immediate surroundings and day-to-day life. Living in the countryside and walking around the hills or by the river with my dog Pip has a big influence. I absorb colours, shapes, patterns and textures, taking photographs almost daily. The changing seasons mean it is always evolving.

I have been gathering snippets for as long as I can remember. Whether a patch of faded plaster, twigs embedded in a muddy track, a shadow, pebble or the outline of a circle in an old stone gatepost. I’m constantly scanning and logging ideas, waiting to incorporate them within a work.

Artists who inspire me and who I have been thinking about recently are Agnes Martin and Mirco Marchelli. It’s hard to pinpoint a few, I love the St Ives artists, the American color-field artists, in particular Ellsworth Kelly.

I’m also influenced by textiles, ceramics, architecture…. I particularly love the fabric panels of Louise Bourgeois, and the wall hangings of Anni Albers

Your work has a lovely calm colour palette – can you tell us a little about how you choose your colours

I love calm colours, almost colour-washed, gentle and slightly translucent. Often I overwork them with hand-drawn lines, dots and dashes.

I use the colours I am drawn to at that point in time, and I just go with my feelings. It’s a nice way to work, there are no rules. 

I have noticed that the seasons affect my colour palette. During the Autumn and Winter I am definitely drawn to darker and more muted shades; dark olive greens, plums, greys and rich mustard yellows. During the summer, pink and yellow always pop up, and the colours are usually fresher. 

We have family in Italy, so go as often as we can and it feels like a second home. Each summer we spend time in northern Tuscany not far from Lucca. We stay in an old converted mill in a wooded valley below a hill top village, and it always inspires me each and every time I go.

I love the charm of Tuscan buildings, with slightly faded crumbling plaster walls revealing layers of weathered brick and rows of herringbone patterns. The warm colour palette of earthy natural yellow ochres, terracottas and pinks set against honeyed sunlight, shadows, fig and olive trees is just beautiful. It’s all so refreshing and always filters into my work once back at home.  

Photographs from Lucca, Italy

– What are you working on at the moment (July) and what’s on the horizon for you?

I am waiting to hear about the final round of judging for this year’s Royal Academy Summer Exhibition. This would be my 7th year of exhibiting, and it’s always one of the highlights of the year. If my print ‘In the Sand’ is accepted, I’ll be editioning it for a while, as it’s pretty big at over a metre in length and has nine colours.  

Following on from this, I’d love to make a new series of large screenprints and exhibit them. The USA is my biggest market, so New York would be marvellous! 

In The Sand – Exhibited in 2023 Royal Academy Summer Exhibition

Older interviews from 2012 – 2017

Saatchi Art  –   Folksy  –   The Edition  –   The Biscuit Factory



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Interview Saatchi Art: Inside The Studio 2017

What are the major themes you pursue in your work?

My work stems from observations made in my surrounding landscape; observations of shapes, spaces, textures and colours.

These are initially recorded as photographs, small sketches or collages and undergo a series of fine-tuning once back in the studio before being translated into prints. The finished prints are a result of paring down through a process of subtracting elements and cropping, or the opposite; re-building and inventing new compositions from found elements. The emphasis of the work becomes wholly about shape, colour, proportion, scale and balance.

Drawing goes hand in hand with the screen printing process. Combining the two enables me to produce smooth, crisp images in which I can explore shape and form. I particularly love the combination of geometry and the drawn mark.

My work has evolved over the past few years, as I have become increasingly drawn to the textures of the rural landscape which is part of my everyday life. I am very much inspired by surface; its patterns, textures, layers and colours. Recent works are weighted mainly towards a hand drawn element; scraping, scratching and combining different textural surfaces within each print.

I strive to create something beautiful and understated in my work, and I have always been drawn to work that feels calm.

What was the best advice given to you as an artist?

It’s not really advice as an artist, but as an art student.

When I was living in London studying for my B.A in fine art and living with a group of artists and musicians, one of my house mates was doing printed textiles at the Royal College of Art. His advice was to continue with an M.A in printmaking if I could get a place at the Royal College of Art too. After taking a trip to look around with him I was totally in awe and shocked at how amazing the work was. From that moment, I knew I had to go there. It was the best experience of my life, such a fantastic opportunity and a privilege. It’s something that has shaped my life ever since. Without the advice of my friend I never would have applied.

Prefer to work with music or in silence?

I like to work in silence when I’m printing, it helps me to concentrate. When I’m preparing work or doing general bits and pieces around my studio I love to listen to indie folk; I love ‘Passenger’ at the moment. I also like to listen to classical music, Mendelssohn or Ravel by the Escher String Quartet, fabulous.

If you could only have one piece of art in your life, what would it be?

That’s tough. I’d love something by Ellsworth Kelly but I’d probably choose a white relief by Ben Nicholson.

Who are your favorite writers?

I love Joanne Harris; her books are a combination of great story telling with a bit of folklore mixed in. She even went to the same school my daughter is attending now, and still lives nearby.


Meet the Maker: Folksy 2016

Folksy Interview 2016

Printmaker Emma Lawrenson lives and works in a draughty old farmhouse just outside the creative hub of Holmfirth in West Yorkshire. It’s here that she creates her calm and understated abstract screen prints, inspired by landscape, colour and shape. Her geometric style and nod to mid-century artists caught the eye of Hollywood set designers, who snapped up two of Emma’s prints for the walls of Peggy’s office in Mad Men. We talk to Emma to find out more…

Can you introduce yourself and describe what you do?
I’m a full-time printmaker, living and working in the picturesque Yorkshire countryside, which is where the inspiration for much of my work stems. I make abstract prints inspired by anything and everything around me.

How did you discover printmaking?
I knew I wanted to do something with art from a young age. I experimented with printmaking before my degree and immediately fell in love with the process.
 I was lucky enough to go to the Royal College of Art to study an MA in printmaking after my fine art degree and I’ve been hooked ever since.

How would you describe your aesthetic and has your style changed over time?
I would describe it as simple, understated, colourful, calm and happy. I’ve always worked in this style – it started back in the early 1990s when I began my degree. When I was in London, a long time ago now, I was looking at an urban environment and most of my work was based on the structures and architecture there. Now I live in the countryside, so I make a lot more organic and fluid work, alongside the geometric style. But my style has always been similar – if you saw my work then, you would know it was mine. In the last couple of years, I’ve changed the way I make my stencils. Before, I used cut paper stencils, so everything was really hard-edged and quite graphic. Now, I’ve softened it a lot and all my stencils are hand-drawn. The prints themselves are a lot softer in appearance and they look more handmade. So that’s changed, although the actual compositions and colours haven’t much

We’ve heard that your work featured on Mad Men. Which print was it and who’s wall was it on?
It has! I’ve sent work a few times now to ‘Universal Studios Hollywood’! How bizarre is that? They bought two bold geometric prints for the set of Mad Men, series six. They were on the wall in Peggy’s office. They framed them in very mid-century frames to give them a little bit more of a retro edge!

Can you tell us more about the two studios you work from?
I live in an old draughty farmhouse in Jackson Bridge near Holmfirth and my studio here is pretty big. It has a wooden floor, lots of antique furniture, glass cabinets, books and magazines and it looks out on to a pretty courtyard garden with a big stone barn and lots of pretty roses. I can see cows and birds from the window too. It’s not a bad place to be! I have two overflowing plan chests here full of work, and pots and pots of inks in an old Chinese cabinet.

Holmfirth seems to be a hugely creative hub. Is it a very inspiring place to be?
Holmfirth is definitely an ‘arty’ town – it’s full of very a talented people. There are plenty of events going on throughout the year and I know lots of artists in the town and surrounding villages. We’re also extremely lucky to live only 10 minutes from the Yorkshire Sculpture Park, which is one of my favourite places and hugely inspiring.




Etsy featured shop: Little Print Press 2016

What drew you to printmaking originally?

I like processes, and I like to be really methodical and precise, and that’s what printmaking, for me, is all about. You’ve got to have everything pre-planned and worked out before you start. It’s not like painting, where you’re working directly on a canvas. And if you’re doing an etching or a screen printing, there’s always that anticipation before you lift the screen up, because you can’t know exactly what’s going to happen. That’s part of why I like printmaking so much.

After my foundation course, I went on to do a four-year degree in fine art; I did printmaking and quite a lot of drawing, working in a very similar style to the one I’ve got now. Back then, I was living in London with a group of artists and musicians, and what really spurred me on was that a guy I lived with was doing print textiles at the Royal College of Art, and he said, “Why don’t you come to college with me one day?” As soon as I walked around the printmaking area, I was shocked at how amazing the work was and in awe of the students.

From that moment on, I knew I had to go there after I finished my degree, which I did; I got in and did a two-year program in printmaking. It was such a fantastic opportunity and a privilege to go there — I was taught by Tracey Emin, people like that. It’s kind of crazy, looking back, but it was fab.

How long does it take you to make a piece with 15 colors? 

I can print that in a day — maybe seven hours — because I’ve been doing it for so long and the water-based inks I use dry pretty quickly. And I usually work on two prints simultaneously, so while one layer is drying, I’m working on the next one. It takes quite a long time, but I do a new edition every week, so maybe 15 will print in a day. Although it takes me a week or two just to get it to that stage — to get it ready to go to the workshop.

What’s the most challenging part of the printmaking process for you?

Color, for me – sometimes the colors just work, and it’s happy days, and then sometimes I think, ‘Oh my God, what’s going on? Nightmare!’ Last week I did one of the nicest prints I think I’ve ever done, but it took me seven hours to get the colors right. I think people might look at my work and think, ‘I could do that. What is it? A few shapes and a few colors on a piece of paper.’ But it is a lot more complicated and can quite easily go wrong. If you get one color that’s slightly too dark, it will throw the whole print off because it stands out so much. And then if all the colors are too similar, it will look washed out, it won’t show up very well on the screen, and I know that it’s not going to sell. There’s a lot riding on the color for me.




Interview 2015

In the studio with – Emma Lawrenson

I featured some of Emma’s beautiful work in my artists January ‘Finds!’ and I’m really thrilled that Emma was interested in taking part in this new monthly category that intends to get to source of how the art we see, like and possibly purchase, comes to fruition – the A – Z in images and text. We can often overlook the process involved when we are presented with the final form and yet it’s that very working mental/physical development that holds the living, breathing value and brilliance of a piece – the fundamental part of its soul.

Having studied Fine Art at Reading University, Emma went on to do an MA in Printmaking at The Royal College of Art, London and has since developed a wealth of screen printed imagery inspired by her surrounding environment in Yorkshire. Here, Emma takes us through her ideas and technique…


Do any other artists inspire your work?

Those I have been thinking about recently are Agnes Martin, Ettore Sottsass, Andrew Bick, Breon O’casey and Louise Bourgeois. However, I would say my main inspiration remains with the American Color Field artists and a little bit of Fifties textiles design thrown in!

And what beyond artists inspire your work?

The inspiration for much of my work comes from my immediate environment and the rural landscape. Living in the countryside has a big influence. I have two styles of working. I work with irregular drawn shapes, and I also make geometric/linear work. Inspiration for the latter usually comes from the harder landscape; stone buildings, barns, doorways, windows, pathways. I try to look beyond the obvious and note unusual shapes, patterns and colours as I go about my day.

What is your studio like?

My home studio is my Yorkshire farmhouse. It faces out into a lovely flower filled courtyard garden with an adjacent barn. It is part of our home, so it it filled with antique furniture, painted glass cupboards strewn with pots and pots of inks, my large collection of art books and two overflowing plan chests. At the moment I travel to a printmaking workshop about ten miles away once a week to use the facilities there. I have plans to turn our barn into my own screen printing studio soon.

How would you describe your work?

Minimal, abstract, simple, understated, elegant.

What appeals to you about the screen printing process?

I love that is allows me to be very methodical and precise. It enables me to produce crisp, smooth and clean images, exploring shape and form through the layering of colours, textures and painterly marks. I love the anticipation of lifting up the screen to see what has happened underneath on the paper.

Can you describe the process?

Screen printing is a stencil method of printmaking. A fine mesh screen is coated with a photo-sensitive emulsion and left to dry in a darkroom. The stencil is transferred onto the screen using ultraviolet light. I create stencils by hand. Once the screen is made, ink is forced through the voids in the mesh using a squeegee. One colour is printed at a time, so several screens are used to produce a multi-coloured image.

I press all of my work between tissue paper and weigh it down under heavy boards to flatten perfectly, then I edition the prints in pencil. Some pieces are worked into afterwards with white conte crayon or pencil.

To what extent does nature/landscape inform your practice?

Very much so, but I think in a subconscious way. The shapes, contours and colours of the landscape are part of my daily life, and I make a point of absorbing as much as possible wherever I am.

How important is colour, form and shape?

These three elements are fundamental to my work. From the initial origins/drawings/photographs in my sketchbooks I begin a process of stripping everything back to the bare essentials through a process of abstraction. Images then begin to evolve as small paintings or collages. I spend my time adding removing and moving pieces around on a background, allowing the image to slowing define itself. The emphasis of the work then becomes wholly about shape, colour,proportion, scale and balance.

Colour is often the most difficult and time consuming aspect to get right. Work ultimately emerges by intuition, and then I modify it several times before a decision is made. Even after printing, I modify and re-work some pieces by tweaking colours.

How small is your print run?

I like to keep editions small, so I usually make edition sizes between 10 & 30.

What are you working on at the moment?

I am working on a new series of large ‘drawn’ geometric screen prints. These have soft muted colours and mix elements of solid block colour with hand drawn textures. I love the rhythms and structures of geometry. I can play with internal and external space within a flat background.

And what is next?

My printmaking studio is a must this summer, and then it’s full steam ahead making work on a larger scale. I am exhibiting in the RA summer exhibition at the moment, and have been invited to exhibit at ‘The Royal Academy of Arts in Yorkshire’ and the 7th Printmaking Biennale in Duoro, Portugal soon. I hope to hold a solo exhibition in London, watch this space!


Interview: February 2012, The Biscuit Factory.

Can you briefly describe what you do?

I am a printmaker, only using the screen printing process at the moment.
I make abstract prints inspired by anything and everything around me. I notice unusual shapes, patterns and colours then try to make some sort of order out of them back in my studio. I can take shapes and images from almost anywhere and am constantly scanning as I go about my day.
Deciding what is worthy of noting, or drawing is sometimes a struggle. If I’m lacking stimulus or feel overwhelmed by all the stuff in my sketchbooks I’ll go out for a walk with my dog in the hills or by the river and absorb colours, textures and  clear my head.
I have two main styles of working; one is the more hard-edged geometric or linear style and the other, the more fluid abstract shapes and organic work.
I tend to focus back to nature and the rural landscape when I find myself going off on tangents, it makes me channel into an area I find calming and makes me work at a slower pace.
I find the organic prints are the most beautiful. They have softer lines and curves. These also tend to be the prints with the least colours, so never seem to go wrong.

Does your work go wrong?

Sometimes the colours in my prints do go badly wrong and I have to overprint several times. I find colour is the most time consuming part of the work.

You talk about different styles of work, which style of work do you enjoy making the most?

I enjoy both, depending how I’m feeling at the time. I like creating the more geometric work simply because I enjoy patterns and the challenge of working with more colours. As a child, I loved drawing patterns and filling them in. I like that there is a structure and that an image will nearly always work without having to try too hard at it.
I tend to stick to certain rules; I like to crop the shapes, I prefer to work within a rectangle and I think about positive and negative space. I find this is ingrained in me, an intuitive part of my practice. I question whether the image is balanced and if your eye is led into the picture, or if it is too static…..I question myself all the time.
When making work I also think about how the work will ‘fit in’ with other works. I feel that it is very important to view works side by side, letting them interact with one another. I never just print something hoping it will just slot into place with others.
I always have both finished and unfinished work on my studio and home walls, it helps me to work out sizes and connections between works.

What drives you to make work?

The process and formal qualities and conventions of screen printing fascinate me. My work is an engagement with the process, and I have a need to create work that is perfectly printed. I view printing as a craft, it is a skill to practice and keep practicing, like ceramics or painting. Another reason is the need to simply sort through and express my ideas.

Can you tell me something of your day-to-day working practice?

After I have dropped my two children at school I go to my studio, which is currently at home. I check e-mails to see if I have made any sales that need wrapping and posting out. Also I have quite a few clients now who often e-mail, so I keep checking throughout the day. 
I usually get down to some serious work at about 8.30 when I look through my sketchbooks and notes to see what I did the day before. On most days I work out ideas as small collages, I have a few on the go at once. I paint onto spare pieces of Fabriano Paper, and then cut them up to make the collages, working from the drawings or photographs in my sketchbooks. I spend my time adding, removing and moving pieces around on a background, allowing the image to slowly define itself.
My whole week revolves around a Friday, which is the only day I can have sole use of the screen printing room at the print workshop I use. I have to be on my own there or I lose concentration and make mistakes.
Thursdays are pretty hectic, as I need to have all my artwork ready to transfer onto the screens the next day, and I have to have all my inks mixed in advance.

I find it tough, not having my own printing facilities. It’s like being a painter, but only being able to get to my canvas on a Friday. It’s difficult. I’m in the process of drawing up plans for a studio in an outbuilding at the moment.

How long have you been working in that way?

I have always worked this way. When I’m not printing I am wielding a scalpel! When I was at the R.C.A, I seemed to spend a lot of time carefully cutting up bits of paper with a scalpel. My studio became known as ‘the surgery’!

Which artists have had the greatest affect on your work?

Those I have been thinking about recently are Rachel Whiteread, Agnes Martin, Frank Stella, Ettore Sottsass and Anni Albers. I look at other artists work daily. It’s hard to pinpoint a few, I love the St Ives artists, the American color-field artsists, in particular Ellsworth Kelly.
I’m lucky to live really close to the Yorkshire Sculpture Park, which must be one of the best in the world, I visit every exhibition. I often visit each show more than once, to take it all in. I am always amazed by the work on show. I particularly enjoy seeing the drawings that accompany the sculptures, they really show the workings and thought processes of the artist. I was blown away by the work of Peter Randall-Page .

What outside visual art, informs your practice?

I filter many elements from things such as magazines, books, views out of the car window, or simply the landscape when I’m out walking, anything I find useful. I try to keep my eyes open wherever I am.

How would you like people  to engage with your work?

When contemplating a print I think about how someone will view the work. I want people to linger and feel there is something to discover. I’d like there to be some intrigue and a connection to the work without necessarily knowing what each print actually is. I’d like people to appreciate the colours and forms without worrying about meaning. I love work that is immediate, simplicity is everything.

Have you seen anything recently that has made an impression?

I bought a book recently; ‘Rachel Whiteread Drawings’ from the shop at  The Hepworth Gallery in Wakefield. Her drawings are exquisite.

Do you have anything exciting on the horizon?

I’m working towards a solo show at the Duckett & Jeffreys Gallery in May. I have also been offered my first international solo show at the r.mfa (Rochester Museum of Fine Arts) in the USA later in the year.


For up to date information about me and my work you can also visit my blog:  www.emmalawrenson.blogspot.com