#60: Releasing the Prints
Over the past few weeks, I’ve quietly started building something new alongside the paintings and drawings in the studio — a small collection of fine art prints.
Until now, most of my work has existed either as original pieces or as something shared online through photographs and videos. Turning selected works into prints has changed that slightly. It’s created another way for the work to exist outside the studio and become part of someone else’s space.
What surprised me most was how much care goes into the process itself.
More Than Reproductions
I didn’t want the prints to feel mass-produced or disconnected from the original work. That became important very quickly.
Each piece is printed in-house as an archival giclée print on heavyweight fine art paper, then hand signed, numbered, wrapped, and packaged individually. The process is slower and more involved than I initially expected, but that’s also what makes it feel worthwhile.
There’s something quite satisfying about seeing a drawing or painting translated carefully into another form while still retaining the texture, atmosphere, and character of the original.
The First Collection
The first group of prints has naturally centred around places and subjects connected to Huddersfield.
The Castle Hill pieces explore different perspectives of a landmark that feels almost permanent within the landscape — from wider atmospheric views to more focused studies of the tower itself.
Alongside those is The Bridge, Huddersfield, which shifts toward movement and urban rhythm. Based on a long-exposure reference image beneath the viaduct on John William Street, the piece captures trails of headlights curving through the structure, contrasting constant motion with the fixed architecture surrounding it.
I’ve also released Balloon #1, a hyperreal oil pencil drawing that focuses less on place and more on surface, reflection, and precision. Although very different in subject matter, it still connects to the same interest in structure and observation that runs through much of my work.
Learning the Process
One of the things I’ve realised through releasing prints online is that it changes your relationship with the work slightly.
The original artwork stays in the studio, but the print becomes something designed to move outward — to be packaged, posted, collected, and lived with somewhere else.
That shift feels significant.
There’s also a responsibility that comes with it. The materials, presentation, and packaging all become part of the artwork itself. I’ve found myself paying attention to every stage of the process, wanting the finished piece to feel considered from the moment it arrives.
A Different Kind of Momentum
Releasing prints has also introduced a different kind of momentum into the studio.
Paintings and drawings can take weeks or months to develop quietly in isolation. Prints feel more immediate. They create conversations, interactions, and connections with people in a more direct way.
That’s been encouraging.
The collection is still small, but it already feels like the beginning of something that will continue to grow alongside the rest of the work.
Looking Ahead
At the moment, the print collection is still developing slowly and carefully. I’m interested in keeping the editions limited and maintaining the same level of attention and quality across each release.
More pieces will follow over time, but for now it feels good simply seeing the work leave the studio in a different form — moving beyond the walls where it was originally made.
You can view the current print collection here:
.M.
Be real.
Make art.
If you’d like to learn more about my creative process or see my latest work, feel free to reach out or check out the rest of my website.