Centre for Fine Print Research University of the West of England Centre for Fine Print Research

Dr Paul Laidler

Professional Practice

Paul also produces his own work that is informed by much of his technological activities at the CFPR. His interest in print is through the technologies inherent reproductive process and the mediums cultural impact upon how we have learned to see, understand and describe the world around us. As part of his practice based interest in art and technology Paul has created a blog called Just Press P

The site functions as an online note book engaging with technological developments and contemporary art practioners with a view to forming possible future research projects. The full link address can be found here http://justpressprint.blogspot.com/

Paul has also been recognized both nationally and internationally through a series of juried exhibitions and publications. His work is included in collections at The V & A, Tate Britain, School of the Art Institute Chicago and The University of the Creative Arts Farnham.


Artefact: untitled in Shock and Awe; Contemporary Artists at War and Peace, Royal West of England Academy, 18th July – 17th Sep 2014  

Artefact: Record in Fluxjob, Minnesota Center for Book Arts, Minneapolis, USA, February 7 - July 6, 2014  

More information

Selected Exhibitions


Exhibition: Stand at Multiplied, Christies, London, Oct 2014
URL www.christies.com/multiplied#overview-section

Shock and Awe; Contemporary Artists at War and Peace
, Royal West of England Academy, 18th July – 17th Sep 2014

FOFI - Festival of Football ideas miniature print show, 30.05.14 - 14.6.14 - www.fofi.org.uk/miniature-print-exhibition-football

Record in Fluxjob, Minnesota Center for Book Arts, Minneapolis, USA, February 7 - July 6, 2014


CFPR Editions, Multiplied Contemporary Print Fair, Christies, London, October 2013
IMPACT 8 Dundee, CFPR Editions September 2013


CFPR Editions, Multiplied Contemporary Print Fair, Christies, London, 11th - 15th October 2012
7th International Triennial of Graphic Art – Bitola, Macedonia, September 2012 2012 SNAP 2012, 2nd International Printmaking Symposium in Bentlage, Rheine , Germany, 27TH - 30th September 2012
Just Press Print, Northern Print gallery Newcastle Upon Tyne, 20th June – 11 August. 2012  
Codex Event 8 exhibition, Manly Library, Manly, NSW, Australia, Until 31st August 2012  


2011 O Pão Nosso, curated by Mara Caruso, Universidade Feevale, Projeto Circular, Novo Hamburgo/RS, Brazil, 30/08/11 – 13/09/11

2011 Sons of the Sea Russia / UK book project curated by Mikhail Pogarsky / Sarah Bodman (touring exhibition) 16 June - 30 July 5th Krasnoyarsk Book Culture Fair, Krasnoyarsk, Siberia, MVTS, Russia 02/11/11 – 06/11/11 7th Moscow International Artist’s Book Fair, Central House of Artists, Moscow, Russia, 30th November – 4th December 2011 (The project was also presented with a parallel exhibition at the National Center of Contemporary Art, Moscow, Russia, 14/12/11)

2011  'Drawing with Fire', International Print Biennale 2011, curated by T. Sowden, Foyer Gallery, School of Design, University of Northumbria, Newcastle, Gateshead, UK 1 - 10 Nov 2011 THE WORLD AS TEXT, curated by Jessica Cochran, Center for Book and & Paper Arts, Chicago, June 16 – 12 Aug 2011

IEEB4 International Experimental Engraving Biennial, The Brancovan Palaces Cultural Centre, Curators Marta Raczek & Eva Mosender, Mogosoaja, Romania, Nov 20th, 2010 – Jan 30th, 2011

2011 Drawing with Fire, curated by T. Sowden, ArtEZ Academy of Art & Design Hallenweg 5, 7522 NH Enschede, 18th – 20th Jan

IEEB4 International Experimental Engraving Biennial, The Brancovan Palaces Cultural Centre, Curators Marta Raczek & Eva Mosender, Mogosoaja, Romania, Nov 20th, 2010 – Jan 30th, 2011

3D2D3D: Object and Illusion in Print, Edinburgh Printmakers Gallery 18th Sep - 30th Oct 2010 and Norske Grafikere, Oslo, Norway January 2011


The Cartel, Arnolfini book shop, Bristol, June to August 2010
84th Annual International Competition: Photography, Juror Ingrid Schaffner, The Print Center, Philadelphia, May 1 - July 24


New Wave: artists’ publishing in the 21st Century, Impact Conference, UWE Bristol UK, 15th - 19th Sep
Inkubator2, Artists Books, Prints & Multiples, Durham Art Gallery, UK 9th Sep – 18th Oct

Committed to Print, curated by Paul Thirkell, Group Exhibition by CFPR and invited artists, Impact Conference, Bristol, UK, 16th - 19th Sep
7th RWA Open Print Exhibition, The Royal West of England Academy, Bristol, UK, 9th Aug-19th Sep


Bristol Contemporary Open, Paintworks, Bristol, UK 8th October -18th October

Committed to Print, curated by Paul Thirkell, Group Exhibition by CFPR and invited artists, Gallery of Northern Print, Newcastle, 22nd Aug – 25th Oct

Through the Lens, The Royal West of England Academy, 7th June – 28th July, Bristol, UK
Borders of Perception, Balengebouw, 30th May – 13th June Enschede, Holland

Sitting Room, curated by Lucy May Schofield & Tom Sowden, K Gallery, Alameda, California, USA, 7th March – 27th April

Artist’s Residency:

Griffith University, Queensland College of Art, Brisbane, Australia, (Codex 8 Event - invited by Senior Lecturer in Printmaking Tim Mosely) 1st – 14th October 2011

Curated Exhibitions

Just Press Print
CURATOR: Laidler, P.
VENUE: Northern Print, Newcastle-upon-Tyne
DATES: 20 June – 11 August 2012
VENUE: Impact 8 Conference, University of Dundee  
DATES: 28 August -  1 September 2013
ABSTRACT: http://www.flickr.com/photos/npstudio/sets/72157630297327602/
This curated exhibition was funded by a UWE early career research grant and builds upon work undertaken by Laidler into his PhD, ‘Collaborative Digital Wide Format Printing: Methods and Considerations for the Artist and Master Printer’ (2011). This research explores the impact of digital technology on the working process of a practice-led artist within the field of printmaking which has been traditionally centred within the hand and mechanical machine. The research hypothesis what constitutes print practice for visual artists today? The research investigated the mediation of the concept through a digital production process with artists. The 8 artists that were invited to produce a digital print edition formed the case studies that illustrated the process and contributed to the curatorial premise for the exhibition. The invitation process was based upon artist’s work that engaged with digital the digital age as a means to consider the influence of the digital technology upon making and contemporary craft orientated pursuits. The research created a methodological approach for digital print editioning for digital studios and researchers in the field. To achieve this Laidler closely documented the physical working process with each artist.
Reviewed by Ogilvie, S. (senior lecturer in imagemaking at Northumbria University) in PRINTERESTING www.printeresting.org/2012/07/20/just-press-print/#more-28923 20th July 2012.
Multiplied: contemporary art in editions fair
CURATOR: Laidler, P.
VENUE: Christie’s, London
DATES: 12-15 October 2012, 18-21 October 2013
URL LINK: http://www.multipliedartfair.com
Dr Paul Laidler has curated an exhibition of CFPR Editions based on his research into what constitutes a print today for visual artists and how has digital technology diluted the medium so much that print is becoming a redundant term in creative practice.

The Printed Reality
CURATOR: Laidler, P.
VENUE: IMPACT 6 Conference, UWE Bristol
DATES: 16-19 September 2009
Curated by Paul Laidler The Printed Reality Exhibition was a curated show of photographic works by seven artists presented as a gallery instillation. The exhibition was conceived as a way to bring together the physical exhibition space and the digital gallery space as a means to consider the print as an image and an object. In this instance the physical exhibition subverted expectations by dispensing with conventional and established printmaking exhibition formats. The exhibition displayed no physical prints by the artists or used any traditional hanging and framing method’s - the only physical print was the constructed display. The selection of artists looked outside of traditional printmaking circles and instead engaged with an online image based community called flickr, here the participants work commented upon print but with little or no concern for surface tactility, process or materiality. The presentation was also conceived as an artwork in its own right and therefore added a further blurring of the exhibition format. Construction: The structure in the exhibition was built as a sight specific instillation; in this instance the specificity of the structure referred to a three metre squared section of wall in the gallery space. Prior to the exhibition a series of photographs were taken of the gallery wall and printed on photographic paper using a wide format inkjet printer. The prints were mounted and draped onto rectangular card panels supported by the photographic paper packaging. The images exhibited in the Printed Reality show were selected from an online image hosting website called flickr. The site functions as an online community where users are able to view and share photographic images within a virtual gallery setting. The Printed Reality group within flickr presents photographs of photographically recorded prints using the broad themes of Portrait, Landscape and Still Life. The recorded print captured within the photograph presents both image and object as appearance - a marriage of realities that is presented in the Printed Reality Exhibition. Within each of the artist’s work the interplay between image and object is not a seamless transition but one of artifice, theatre. Here the photographic image functions as a backdrop, a stage prop positioned and presented in such a manner that we are readily accepting of its fictional role. It is in the recording of the prints relationship to the "real" that the theatrical emanates from within the picture frame. The "real” performance projects from edges and folds that cast both shadows and omit reflections from an external world, a reality not of our own but somewhat more representative of our own. In keeping with many of the image construction methods from the flickr group the placement and angle of the structure was designed so that features of the real and photographic wall registered with one another. By erecting a three-dimensional form using two-dimensional descriptions the instillation forced viewers into specific vantage points dictated by the cameras monocular vision. Thus reiterating our image constructed perception of reality and a momentary perspective of the two spaces converging. During the exhibition the Portrait themed images were projected across the structure for five seconds intervals using a continuous loop system. Each image became fragmented traversing one gallery wall onto another alluding to further image and object oscillations. Review http://www.printeresting.org/2010/03/06/the-printed-reality/

Works in Collections

Tate Britain, London, UK (2)
The Victoria and Albert Museum, London, UK (2)
National Gallery of Australia, Canberra, Australia (1)
The Print Centre, Philadelphia, US (1)
University for the Creative Arts, Farnham, UK (1)
School of the Art Institute Chicago, Joan Flasch Artist’s Book Collection, US (1)

For a PDF of Paul Laidler's complete CV

click here