Publications, Articles & Papers2024-04-22T20:50:28+00:00

Publications, Articles & Papers

Translation in Transition: The Cabinet of Curiosities.

Following the CFPR’s Artist in Residence programme our co-authored paper explores and discusses themes around digital, technology and creativity.

In July 2024 Translation in Transition will be presented at EVA London.

Paper ID: 1284

Authors: Carinna Parraman, Tracy Hill, Matt Smith, Mike White, Laura Clarke, Alicia Paz.


Working collaboratively: digital and analogue, artist and machine, artist and artist is a constant activity of negotiation and translation – between code, language, process, matrix material and metaphor. The CFPR’s Artist in Residence programme aims to explore methods of translating between craft and the multiple, interactive fundamentals of ink on paper, digital modelling and 3D printing. The result is The Cabinet of Curiosities – a bespoke multifaceted, self contained and portable travelling exhibition that, when unfolded, can be transformed into a wall-free  exhibition space. The bespoke wooden Cabinet showcases a range of original multiples made using cutting-edge technologies. The following case studies are some examples of novel and unique artworks that span a range of digital and analogue tools as a transition and translation between artist and audience and a means to explore and discuss themes around digital technology and creativity.

Printmaking Today – Printmakers Diary.

Spring 2024 Issue 129.

It was a pleasure to be invited to share my reflections on the judging process for the 23rd International Print Triennial in Krakow.

The MTG International Print Triennial has been a significant event in the global landscape of art festivals since its inception in the 1960s offering a snapshot of international contemporary print, concepts, and ideas.

For this 23rd edition, artists were invited to respond to the theme Momentum, ‘to critically interpret the reality that collectively we are rushing towards a climate and humanitarian catastrophe, while creating new digital tools for interfering with the fabric of society’. MTG 2024

In December 2023 it was my absolute pleasure to join Enrique Chagoya [USA], Grzegorz Hańderek [Poland], Jan Stefan Pettersson [Norway/Sweden] and Marta Anna Raczek-Karcz [President of the SMTG in Krakow] as the jury for the 2024 triennial.

The exhibition opens to the public on the 24th of May 2024 in Krakow and will include works by each of the judges, in total 38 countries are represented.

A Fine Toothed Comb

New publication A Fine Toothed Comb is now available

Available from HOME’s shop from 7 Feb 2024. Priced £10

The publication includes: essays by Lubaina Himid, Lauren Elkin, author of Art Monsters: Unruly Bodies in Feminist Art, Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, and Clarissa Corfe.

Edited by Beth Hughes. Designed by Pony Ltd, London.

About the exhibition:

A Fine Toothed Comb was an exhibition curated by Turner Prize-winning artist Lubaina Himid. Bringing together new commissions by Himid as well as artists Magda Stawarska, Rebecca Chesney and Tracy Hill, the exhibition focussed on unearthing hidden layers within the city of Manchester.

Through four unique installations spanning painting on found objects, multi-screen moving image, site-specific drawing and sound compositions, the artists’ work uncovered invisible geological, historical, environmental and political layers of the city. From hidden waterways and disappearing wildlife, to lost music and communities hidden in plain sight, A Fine Toothed Comb invited us to look closer at what surrounds us. This is the first time all four artists’ work was presented together, following many years of discussion and collaboration.

The publication includes: essays by Lubaina Himid, Lauren Elkin, author of Art Monsters: Unruly Bodies in Feminist Art, Flaneuse: Women Walk the City in Paris, New York, Tokyo, Venice and London, and Clarissa Corfe.

Edited by Beth Hughes. Designed by Pony Ltd, London.


In conversation with Dr Rosalind TodHunter as part of Printmaking, Artists’ books, Landscape and Nature. CFPR @ UWE Bristol.

This one-day symposium will explore environmental themes including but not limited to water quality, land degradation, pollution and damage to the landscape, interventions and ideas. The event will share some of the outcomes from UWE’s HAS-ACE Connecting Research Project Grant Scheme – Slow Violence and River Abuse: The Hidden Effect of Land Use on Water Quality – alongside curated presentations from national artists, geographers, writers, environmentalists and scientists.

Our aim is to bring together internal and external artists and LAND2 members to talk about some of these issues along with specialists and commentators from other fields.

Sites of Exchange

International Workshop on Design Adaptation Strategies to Reduce the Societal Impact of Climate Change and Coastal Hazards in the United Kingdom authored and hosted by Dr Kantamaneni, Komali, UCLan Engineering & Innovation Centre.

Sites of Exchange brings together works from research projects Matrix of Movement, Carbon Synthesis and Porosity, delivered as part of a two day workshop exploring issues of climate change and coastal vulnerability, natural hazards and disasters. The workshop will have >40 participants who have expertise in the remit of climate change and coastal vulnerability.


This new publication has been produced to document the research and development of this two year project. Written contributions by Professor Penny Florence and Anna Souter bring together unique critical and poetic responses to the new works.

Published: In Certain Places, Preston, 2022
ISBN: 978 0 9930498 6 6
Pages: 44
Size: 23cm x 21cm

£15 PLUS P&P

Porosity is a scientific term of measurement connecting water and rock, and it indicates how they almost become each other. Through drawing, print and installation, my project seeks to reveal further such connections, especially between invisible landscapes and the walking body: the invisible shaping the visible.

Walking, conversation, material and technological investigations are brought together to consider how human belief, customs and scientific understanding connect us to unseen landscapes. My focus is on the relationship between the physical nature of making, the materials chosen and fully conscious walking, a connection to a sense of place that explores how the world around us is held together in terms of energy, forces and form and filtered through human perception.

The resulting artworks are visual traces of the relationship between materials, thought and movement; traces, which notice detail, slow down, witness, communicate and seek to be curious.
Installation and site-specific drawing invite a mode of sensing that is more attuned to the multiple ways in which the world is active around us. Many of my drawings exist in situ only briefly, and though some are very large, they are recorded here as details, shown without scale. They aim to build a series of fragmented moments inviting you to reflect on connections between inside and outside, boundaries between energies of the body, materials and the relationship between looking, thinking and feeling.

Online version available to view –

Printed copies are available to pre-order via AirSpace Gallery.

ECHTRAI JOURNAL EDITION 1: landscapes lost, abandoned, forgotten, mythic

Delighted to have a chapter included in this publication.

Echtrai -According to the Irish of the Celtic pagan tradition, an echtrai refers to a broad category of mythic journeying, usually undertaken by a ‘hero’, and very often to the ‘Otherworld’. 

There are many and varied flavours of echtrai, some involving encounters with strange, otherworldly beings, undersea creatures, spirits, and secret or hidden lands. There are numerous interpretations and spellings of the word itself,  but here, we deploy it in very sweeping, poetic terms in order to qualify it as the title of a journal dedicated to landscapes lost, abandoned, forgotten and mythic. 

The earth is a vast archive, a catalogue of activity and events that spans the epochs, encompassing everything that we know and likely ever will know – layers upon layers, each layer containing and encapsulating the moments of its occurrence, each layer a caché of memory, history, and things long gone, faded into an evanescent past.

As part of this first edition my essay Letters to the Void inspired by my ACE funded project Porosity is featured.

 Letters to the void – chapter for ECHTRAI JOURNAL

FORMAT: A5, Perfect Bound, 105 PAGES.

PRICE: £12.50 + £4.00 (UK) postage and packaging

PUBLICATION DATE – TBC – December 2021 / January 2022

Advanced Pre-Payment (below) – Log in to Paypal:

Proximity and Distance in Northern Landscape Photography Contemporary Criticism, Curation, and Practice

Delighted to have a chapter included in this publication.

Edited by Darcy White and Chris Goldie.

transcript publishing

ISBN: 9783837649505

Matrix of Movement – Spatiotemporal landscapes of the North West.

Tracy Hill considers in her chapter ‘Matrix of Movement’ how wetlands have long been represented as places of darkness, disease and death within Western culture. Despite increasing recognition for the need to readjust our perceptions and to acknowledge their environmental importance as living landscapes there is, as yet, little imagery to promote this new way of seeing.

By challenging historic perceptions of wetlands through her artworks, Hill explores specifically how dislocation can be reconnected with our human multisensory response to place through emotion and memory. By adopting digital mapping technology as a basis for her imagery Hill offers a view beyond human visual capability which, when combined with the traditions of a hand created mark, results in a re-imagined vision linking technical and aesthetic, bringing a unique vision of journeys taken on foot through a post-industrial Northern landscape.

Research projects ‘Matrix of Movement’ and ‘Haecceity’ propose new cross-disciplinary ideas, bringing together the worlds of fine Art, environmental sciences, conservation as well as Industrial and commercial surveying offering new ways of seeing unique northern wetlands.

Multi Matrix Print Symposium, 13th March 2020, The MAC Belfast.

Multi-Matrix is a one day print symposium exploring the common definition of matrix as ‘the cultural, social, or political environment in which something develops’. In printmaking ‘matrix’ refers to the source – plate, stone, screen.. from which the image originates – each process lends unique characteristics to the final product. Increasingly, the environment for art-making is cross disciplinary, combining mediums, techniques and influences.

My paper presentation ‘Matrix of Movement’ – the co-existence of the hand-made and the digital, considers the idea of print as an essential link between the traditions of the handmade, specifically printmaking and the potential of new technologies.
The possibilities of print begin with the matrix, in my projects, ‘Matrix of Movement’ and ‘Haecceity’, the matrix is the underlying platform on which a project develops both in terms of cultural and social environment but also the physical sub-straight on which an image can be created.
Both projects investigate how developing technologies and personal encounters can offer new ways of seeing and shift understanding. As projects they also consider ideas around a repositioning of traditional fine art skills as part of a wider cross -disciplinary approach.

Matrix of Movement – the co-existence of the hand-made and the digital – presentation link.

Password:  MultiMatrix2020 

Shared with kind permission of Belfast Print Workshop, please do not share on social media.

Printmaking Today Review:

Women In Print

Professor Lubaina Himid 

ArtLab Contemporary Print Studios under the direction of Tracy Hill and Magda Stawarska-Beavan aims to test the relevance of print in contemporary mainstream art by investigating and expanding print practice through a process of continuing dialogues with artists.

In this dynamic and collaborative environment, existing narratives of print are challenged by understanding that it may have a long history but that there is no need to be restricted by this.

Print is constantly re-invented in the studios through an open-mindedness of methodology and the ability to see and then develop the potential of combining processes and ideas rarely associated with its traditional past.

Read the full article here: Printmaking Today summer edition 2020

Living Maps Review:

Matrix of Movement and Haecceity: Walking in Spatiotemporal Landscapes.

Tracy Hill


Apparently featureless ancient Northern landscapes have long been represented as places of darkness, disease and death within Western culture. Despite an increasing acknowledgment for the need to readjust our perceptions of these spaces and to acknowledge their environmental importance as living landscapes there is, as yet little publicity to promote this new way of seeing. Through my artworks I show how historic perceptions of ’The Waste’ (Defoe, D. 1726) can be challenged through cross-disciplinary fine art practice.

As we search for the beginning of the Anthropocene epoch, our legacy and presence as a civilization will be defined through the very fabric of the earth.  The scale of environmental damage caused in the name of ‘progress’ will be visible as a stark measure of how detached we have become from the land on which we live.  My artwork communicates the forgotten possibility of a deeper and more intuitive understanding with the earth beneath our feet offering images, which are thought-provoking, sensory responses to places encountered through walking.

By exploring the relationship between the aesthetic, handmade surface and the capabilities of the developing digital era it is possible to explore a wider relationship between artist and new technology and how in turn that can affect, reimagine and challenge preconceptions of a wider social understanding of our place in the world.  My aim is to show the beauty in walking these unique northern spaces, to question our interpretation of and to be cautious of the digital data sources on which we are increasingly reliant but above all to invite encounters with forgotten landscapes, landscapes which have shaped our past and have the capability to protect our future.

Download PDF here:

Wild Things: The Overwintering Project and works by Mulkun Wirrpanda, John Wolseley and Tracy Hill

Artists whose work has a focus on environmental concerns , especially fragile wetlands, can help effect change. Article by Sue Forster.

Imprint – autumn 2019, volume 54 number 2

Wild things article Imprint 2019

Bringing the world to its senses: How to grapple with the future of print?

 by Monika Lukowska and Sarah Robinson.

Reprinted courtesy of Imprint, the quarterly fine-art journal published by the Print Council of Australia


Talking Place:unfolding conversations

Talking Place: Unfolding Conversations is a collaborative exhibition between Tracy Hill, Monika Lukowska, Annette Nykiel, Sarah Robinson, and Jane Whelan that explores the significance of wetlands with particular focus on Lake Walyungup; a shallow, ephemeral salt-lake in the Rockingham area known by the local Noongar people as ‘the place where people talk’. Lake Walyungup is a seemingly forgotten, empty space in the midst of a growing urban community which offers shelter to migratory birds and wildlife. It has a deep history embedded in thrombolite remains, links with the Noongar community and various historical uses by the passing groups of settlers and armed forces.

The exhibition interweaves traditional techniques including drawing, bricolage, lithography, etching, and dry point with the digital technologies of drone videos, 3D prints, and Lidar survey scanning in a synthesis of techniques that expand the boundaries of contemporary print. Through multidisciplinary works and collaborative exploration, we aim to unfold our experience of place, its characteristics, atmosphere, meaning and significance.

Exhibition catalogue here: 

Printmaking with Conductive Ink.

Hannah Fray and Javier Pereda

Printeractive, Design Lab, LJMU

Article published in Printmaking Today in response to the successful symposium held at LJMU.

Non-Toxic Printmaking and Digital Methods. Grabado Y Edición / Print and Art Edition Magazine

Alternative acrylic processes featured in the Feb edition of g&e Print and Art edition magazine. Copy of article courtesy of Robinson, S. (2019, February). Non-Toxic Printmaking and Digital Methods. Grabado Y Edición / Print and Art Edition Magazine, 62, 56–68.

g&e-62-processess article

Polymer Photogravure:

A Step-by-Step Manual, Highlighting Artists and Their Creative Practice.

by Clay Harmon

Thrilled to have my work included in this three-part book on the non-toxic process of making ink-on-paper intaglio prints from continuous-tone photographs using water-etched photopolymer plates.

Dark Mountain:

Issue 14 – TERRA

Matrix of Movement.

My project and artworks from Matrix of Movement are featured as part of the fourteenth issue of Dark Mountain.  A themed collection of non-fiction, fiction, photography and printwork on the subject of journeys, place and belonging.

Printeractive symposium

Printmaking interfaces

Printeractive Workshop at LJMU Arts

On 24th of November I was invited to participate in an open workshop at the John Lennon School of Art and Design which was sponsored by Bare Conductive. We had participants from a wide range of backgrounds such as Printmaking, Fine Art, Design, Fashion, Makers and Architecture. It was a very intense day, but got loads of positive feedback.

Impact 10

IMPACT 10 Encuentro 

IMPACT 10 Encuentro was the tenth edition of the International Multidisciplinary Printmaking Conference created by the University of the West of England that has been held in the city of Santander, Spain, from September 1 to 9, 2018.

The event was attended by 450 delegates from more than 40 countries around the world. As part of the conference I presented my paper ‘Matrix of Movement: the existence of the handmade and the digital.’ and showed works from the project in Palacete del Embarcadero.

Paper presentation – Matrix of Movement. 

Northern Light.


To coincide with the publication of, Northern Light: Landscape, Photography, and Evocations of the North (Chris Goldie & Darcy White (eds.) Transcript Verlag, April 2018) Sheffield Hallam University will hold a second conference around critical issues arising from the photographic representation of the northern landscape.

The aim of the conference was to explore the many ways in which contemporary photography represents, interprets, experiences and appropriates the northern landscape.  My project ‘Matrix of Movement’ was included as a paper presentation sharing the unique wetlands of Greater Manchester and Merseyside.

Into a Better Shape.

Visiting Artists Programme #5

Print Symposium

Saturday 5th of May 2018
Curated by Magda Stawarska-Beavan and Tracy Hill , hosted by Heather Ross

At the one-day symposium print within expanded practice. Invited artists presented their unique practice and discussed how they encounter and interrogate print as part of their wider practice.

The aim of this project is to promote the new archive at UCLan; foster new relationships with International/National female practitioners and to generate a new archive of contemporary prints for Artlab CPS Research Centre.

Airspace artist talks.

Visiting Artists Programme #5

AirSpace Curriculum is a programme of events, talks and workshops organised by AirSpace Gallery in partnership with Staffordshire University which recognises and responds to the need for continuing professional development for artists in Stoke-on-Trent and the West Midlands.

This part of the Curriculum offer is a series of artists’ talks, organised by Staffordshire University and usually available solely to students on their Fine Art BA Course, but now being opened up for any interested artists and members of the public to attend. This offer will be augmented by additional artist talks at AirSpace Gallery.

The programme offers an insight into the professional practices of a number of interesting and varied professional artists and arts practitioners.

First Edition Print symposium Cork 2017

Symposium hosted by Cork Printmakers was held as part of the Midsummer festival 2017.

It explored Multiple Dimensions of print: Exploring print as expanded practice in contemporary visual culture.

25 international and national speakers contribute to the programme, plus a trail of 8 city centre exhibitions and other events.

Print Symposium Regional Print centre Wrexham 2017

The Print Symposium: Printmaking Residencies & International Projects

A one-day symposium led by artists and printmakers discussing their practice, residencies, and international projects.

Matrix of Movement – Exhibition and artist residency New South wales Australia review 2017

Research is focused on two main locations The Mersey Estuary in Liverpool and Hunter Estuary New South Wales. Exploring differences between northern and southern hemisphere cultures, the artists will investigate how ideas of navigation have a direct correlation to our understanding and relationship to landscape.

By reinterpreting the landscape experienced through walking journeys artworks and installations to show the transitory and unique properties of such landscapes. Informed from new viewpoints, which often exceed our own visual capabilities as humans the works seek to offer a reconnection and understanding of place through the direct experience of travelling on foot and hand made visual artwork.

Every Breath – online catalogue for international exhibition Australia 2017


In Certain Places presents an evening with artist Tracy Hill in conversation with In Certain Places curator Professor Charles Quick.
The evening will focus on Hill’s work over the last two years with different wetland sites – along the Mersey River in the UK and the Hunter River in Australia. Hill’s process of collecting data using digital mapping technology and presenting this as installations and hand-drawn imagery revealed interesting similarities between the two sites, allowing the viewer to experience these places in a unique way.

In particular, the conversation will explore Hill’s use of digital mapping technology within printmaking and the role of her work in the place where our digital and physical worlds overlap. It will also consider the importance of the liminal spaces she chooses to work with, which sit on the edge of urban conurbations, linking and connecting communities, marking borders and defining modern transport links.


The Lock Up, Newcastle NSW Australia

A special event exploring approaches to printmaking within contemporary art practice in conjunction with the exhibitions Every Breath at The Lock-Up and Common Ground at Curve Gallery.
Featuring guest artists UK based printmakers Tracy Hill, Jason Hicklin and Greg Fuller as well as Hunter based artists working across diverse printmaking practices. Presented in partnership with Curve Gallery and Newcastle Printmakers Workshop.

Keynote presentation by Tracy Hill, Jason Hicklin and Greg Fuller. The artists discuss how they push the boundaries of printmaking within their respective practices and their on going collaborative walking project.

Royal Geographic Society Annual Conference 2016 London

The aim of this session is to explore the different ways in which postgraduate researchers in Social and Cultural Geography are engaging with and attending to the manifold provocations posed by the concept of Nexus Thinking. ‘Nexus thinking’ is taken here to refer to the varying ways in which human geographers are working to consider the entanglements and interconnectivities between environmental and social domains. We are encouraging postgraduates to present a brief ‘snapshot’ of their work (whether a photograph, a quotation, a field diary entry, an image of an object, or mini-video clip) as a focus for 5-10 minute contributions that explore the ways in which their theoretical and/or methodological interventions expand or restrict the propensity for and the possibilities of nexus thought. It is envisaged that the snapshot will be the main artefact around which each contribution is orientated. We encourage participants to fully utilise their snapshots in ways, which further deepen and enrich the developing trajectories, tensions, and textures associated with the mobilisation of the Nexus Thinking.

The Boundary by Tracy Hill


FARO article.

‘State of the art’ scanning 2015

Published article showcasing my practice and use of commercial mapping technologies.

FARO article 2015


Sensorium, is the resulting body of work created during a 2 year MA in Fine Art, Site and Archive intervention at UCLan. Tracy Hill investigates the idea that our negotiation of data and reference points often brings with it a sense of dislocation and fragmentation and how identification with our senses enables a deeper awareness and understanding. By adopting commercial mapping technology and combining it with traditional handmade processes an aesthetic is reintroduced to the digital seeking to offer a re-imagined perspective of spaces which maybe we have forgotten to see.

Nordic Geographers Meeting 2015

Tallinn University

The Nordic Geographers Meeting (NGM) is an international geography conference held in every second year in one of the Nordic Countries and now, for the first time, in Estonia. The 6th Meeting will be held in Tallinn and Tartu on 15-19 June 2015. The conference has grown into a significant and multi-faceted arena for geographers to meet and discuss their research, as well as for fostering cross-disciplinary connections.

The conference theme for the 2015 meeting is Geographical Imagination: Interpretations of Nature, Art and Politics. Under this broad heading nearly forty sessions are listed on the  conference website, covering a variety of more specific topics.


University of Central Lancashire, United Kingdom,

As a visual artist I am utilising commercial modern mapping and measuring technology seeking to change our percepions and challenge our understanding of these spaces through my art practice. Data collected from 3d scanners creates large complex images, the information is multi layered, like the land it represents and can only be understood by the viewer considering sections from different viewpoints. By manipulating the technology and reinterpreting the data I am creating a series of art works which show the transitory properties of these landscapes. Quiet beautiful spaces with a sense of unease, unstable and precarious but now increasingly reclaimed and protected.

SNAP03 International printmaking conference 2015

Between 12 and 15 November 2015 the print association Druckvereinigung Bentlage e.V. will hold its third International Printmaking Symposium SNAP 2015 in cooperation with the cultural institution Kloster Bentlage gGmbH in Germany and the AKI ArtEZ Institute of the Arts in the Netherlands.

Tracy was invited to present the results of the ‘Permanent Print’ project as well as taking part in the ‘Statements’ exhibition at Kloster Bentlage.

Permanent Print

Print and Refractory concrete:

New opportunities in scale, surface and durability.

In August 2013 my recent collaboration with ceramic researcher Dr Alasdair Bremner was presented at Impact 08.

The aim of the collaboration was to create large format 3D relief prints that retained a print quality, yet were rendered in a durable material. The presentation discussed the compromises and opportunities that developed from the cross-disciplinary activity.

Better Bite

This was a collaborative investigation into Acrylic based equating products by Tracy Hill and Emma Gregory who met at Wrexham Regional Print Centre in 2006.

Initially driven by changes in Health and Safety in university print workshops Tracy had already revised print practices at UCLAN to make for a safer working environment and minimise the use of toxic materials. At this time a great deal had been published about the harm attached to using traditional etching materials and potential health implications for artists working with traditional etching processes.

Meanwhile Emma was teaching traditional etching classes at Liverpool John Moores University, on behalf of the Bluecoat arts centre. The University had stepped in to accommodate the arts centre’s classes whilst it closed for redevelopment and refurbishment.

The etching studio at the Bluecoat had not been much altered since opening to the public in the mid 1960’s. Emma saw this was a strategic moment for change. In 2008 the Bluecoat’s doors reopened. Appointed Print Studio Manager, Emma rebuilt the workshop to house ‘safer’ etching practice.

Now they had a lot more in common: the Bluecoat and UClan print studios were supporting significant numbers of artists who had never etched or done any printmaking before alongside a few experienced etchers reluctant to abandon what they knew would work for something largely untried and tested. They met often to discuss the problems we encountered and find solutions together. This partnership led to the research investigation ‘Better Bite’.