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Cover: Arctic Moss (5,500 years old), Elephant Island, Antarctic by Rachel Sussman

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Rebecca Vincent

  • A Rift in the Land

    A Rift in the Land
  • Daybreak - monotype

    Daybreak - monotype
  • Waving in the Wind, Giclee print

    Waving in the Wind, Giclee print
  • Shepherd's Cottage, etching

    Shepherd's Cottage, etching
  • Hawthorn Edge, monotype

    Hawthorn Edge, monotype
  • Ploughed Earth, etching

    Ploughed Earth, etching
  • Here in this Moment, monotype

    Here in this Moment, monotype
  • The March of the Birch, monotype

    The March of the Birch, monotype
  • Hill Top Stand

    Hill Top Stand
  • Earth Lines 2

    Earth Lines 2
  • A Rift in the Land
  • Daybreak - monotype
  • Waving in the Wind, Giclee print
  • Shepherd's Cottage, etching
  • Hawthorn Edge, monotype
  • Ploughed Earth, etching
  • Here in this Moment, monotype
  • The March of the Birch, monotype
  • Hill Top Stand
  • Earth Lines 2

Born in Lancashire, Rebecca studied Fine Art at Oxford and Newcastle Universities before becoming a professional artist specialising in printmaking.

Her etchings and monotypes of the North East landscape glow with rich colours and delicate textures. In Rebecca's hands, the landscape undergoes a stylisation process that clarifies the pattern of fields and hedgerows into an almost abstract pattern of intersecting shapes.

Using a wide range of hand-printed marks, Rebecca delicately conveys the repetitive patterns of fields, hills and hedgerows. 'Etching is an amazing medium that offers so many mark-making possibilities. I can interpret the landscape using an appropriate technique for each area: fine lines for the winter trees, even textures for the farmed land, and soft, wash-like marks for the sky. The etched marks have a slightly raised quality when printed and give the precision and depth of tone that I'm looking for.'

Rebecca's strong use of colour gives her landscape prints a distinctive style. 'Monotype is a broader and more expressive medium than etching. I can explore the same subject of rolling farmland populated by trees in a different way. The monotypes tend to have more movement and less precise definition; they are not planned out but composed freely during the process, with only a rough compositional idea. Since the colours are applied in layers there are powerful interactions between colours, especially in the foreground, where the colour and mark-making are at their most intense.'

Rebecca is the founder of Horsley Printmakers, a studio devoted to the creation of original handmade prints. From there she is able to share her creativity and knowledge with others and offers a range of courses and workshops in printmaking.

You may also recognise Rebecca's work from our Summer Camp promotions, which feature her beautiful Hawthorn Edge monotype, shown above.