ALESSANDRA ANGELINI was born in Parma in 1953. After completing her classical studies she graduated in painting at the Brera Accademy of Fine Art, Milano, with a thesis about the relationship between Music and Painting. She is currently holding the chair of Engraving Techniques at the Academy of Fine Arts in Venice for which she has presented the project entitled “Experimental Languages of the Original Print”. In collaboration with the Faculty of Photography, she holds a research course dealing with hybrid techniques “FOTO+GRAFIE”. Angelini also teaches courses on color theory and figure drawing for the Department of Education and Culture in Lugano, Swizerland. Throughout her career she has collaborated with many Art Institutions internationally and teaches at all levels. She has regularly been a curator for student and professional exhibitions concerning print, painting, and sculpture. As of October 2005 Alessandra Angelini has become the Head Professor of the Fine art printmaking department at the Brera Academy, Milano.

ANDREW ATKINSON is an Assistant Professor of Digital Photography at Montclair State University, in Montclair, New Jersey where he has taught since 2004. Prior to this he taught onto the MA in Printmaking for the critical theory section at the University of the West of England as well as part time lecturer at Swindon College, and as a visitor to various other universities. He completed his PhD in "The creation of digital fine art print through the Woodburytype model" from the University of the West of England (2004). Recent exhibitions include "Member's Show", CEPA Gallery, Buffalo, USA; "Boxing Clever", the Royal West of England Academy, Bristol, UK; the "13th Print Triennial", Tallinn, Estonia; "International Graphic Art Biennial", Split, Croatia; "Macedonian Print Triennial", Bitola, Macedonia; "International Print Biennial", Varna, Bulgaria; and the "International Print Biennial", Beijing, China. Atkinson has been an artist-in-residence at the Center for Book Arts, NY, USA; the Glasgow School of Art, UK; and the Fransmasereel Centrum, Kasterlee, Belgium.

BARBARA BANDI, pictured on the right, was born in Bern, where she works today in her own intaglio print-studio. She received her initial printmaking instruction from Ernst Scher and at the School of Art in Bern. Later she developed her knowledge in different courses in Switzerland and abroad. Her works were shown in single and group exhibitions and on Print Biennials in Switzerland, Germany, Slovakia, Italy, Spain, and Poland. Barbara Bandi is Vice President of the Foundation Frauenkunstpreis and member of the managing-committee of SGBK (Swiss Society of women in Arts). In these functions she organized several national and international art-projects and international art-projects.

SARAH BODMAN is a Research Fellow for Artists' Books at the CFPR, UWE, Bristol, UK. She has curated and led many research projects including: Books by Artists (1999) a survey exhibition of 111 British Artists’ Books; A Tale of Two Cities (2001) an exchange exhibition of artists' books between 20 artists in Bristol and New York; and a web-based project: “The History Book That Never Was” (2003) with 27 artists for the SGC Conference in Boston, USA. Bodman has recently curated an exhibition of 112 artists’ books incorporating nature and the landscape: Arcadia id est which launched in March 2005 at TRACE gallery, Dorset before touring Europe, Australia and the USA until 2007.  Recent projects include an AHRB funded survey Marketing and Creating Artists’ Books and a touring exhibition Librarians Artists’ Books in June 2005 with 46 contributing curators, librarians and writers. Bodman is also editor of the Artist’s Book Yearbook a bi-annual publication on contemporary book arts, the new 2005-7 issue, published this September. Sarah Bodman has also written Creating Artists’ Books published in 2005 by A&C Black, London (also published in the USA by Watson-Guptill). Bodman’s own artists’ books include Time Itself based on the Jenner Museum, Berkeley, Gloucestershire, in 2002 and The Marsh Test made during a residency at VSW, Rochester, New York in 2002. Some recent works include: Pace Bend inspired by the film Dead Calm - translated into a cliff walk near Austin, Texas; Flowers in Hotel Rooms inspired by Richard Brautigan’s novel The Abortion and Viola the story of a woman who let nothing get in the way of her passion for baking. Her books are also included in many international collections such as Tate Britain, the British Library and the Victoria and Albert Museum, London; Yale Centre for British Art and MOMA, USA.

HENRIK BOEGH was born in Copenhagen in 1950. He is a well known author and artist in the printmaking world. Since he established The Printmakers’ Experimentarium in Copenhagen in 1997 he has been working hard to spread the techniques of Non-Toxic Intaglio all over Europe. More than 800 printmakers from all over the world have been participating in his workshops all over Europe throughout the years since 1997. His book Handbook of Non-Toxic Intaglio has been published in Danish, English, Spanish, Flemish and Dutch language. The book has been visualized in the video and DVD program “Non-Toxic Intaglio Step by Step.” From the very beginning Henrik Boegh has been testing and evaluating non-toxic printmaking methods and materials. The results of his investigations in photopolymer materials and acrylic etching grounds has been published currently through his free electronic newsletters to more than 1500 printmakers around the world as well as on his homepage – www.artbag.dk.  A crucial objective for Boegh has always been to stay clear of affiliation with particular manufacturers or products. His Printmakers’ Experimentarium remains completely independent of financial or other kinds of stakes potentially held by the industry. In order to realize this project he has only received financial support from The Danish Ministry of Cultural Affairs as well as The Danish Ministry of Environmental Affairs. As artist he is known from his delicate photogravures with motifs from his many journeys to the old Buddhist Cultural Centers in Burma, Cambodia, Laos and Vietnam as well as his affiliation to the Islamic architecture in the Middle East Countries, Marocco and Southern Spain. He works partly in his studio in Copenhagen and partly in his studio in Andalusia, Spain. He is member of “The Society of Fine Arts, Denmark” and “The Danish Printmakers Society”

KATARZYNA CEPEK is a graduate student in Printmaking at the University of Arizona. She received her BFA in Drawing and Printmaking from Boise State University in 2003. Cepek’s recent exhibitions include “Tuber Manifesto”, The Corcoran College of Art and Design, Washington, DC; “Wild West Side Show Adventures”, Mangere Community Arts Outreach Gallery, Manukau, New Zealand; and “Blur Purlieu”, Mason Gross School of the Arts, New Brunswick, NJ. Her work is also included in several collections including The Corcoran College of Art and Design, Washington, DC, Boise Art Museum, Idaho, University of Mississippi - Oxford, and the Workshop Arts Centre Collection in Willoughby, Australia. Cepek was born in Poland and left her native country at the age of ten. Since her arrival in the United States, she has existed between two cultures. Her art work examines the concept of construction of self through the reconstruction of memory. She draws on childhood recollections as well as family histories to create work that explores her identity as a Polish citizen living indefinitely in America.

ANJU CHAUDHURI was born in Calcutta and later attended the Government College of Art, Calcutta and through a national scholarship progressed to the west coast, to attend the University of Baroda. A Commonwealth Scholarship enabled her to study later at St. Martins School of Art, London. She then went to Ecole de Beaux Arts and Atelier 17, Paris through a French Government Scholarship. Living between two cultures, experiencing magic moments, enriched her personality and work; while her childhood was nurtured by Hindu mythology. As a young adult she spent the ‘swinging sixties’ in London, May 1968 in Paris and the seventies in Amsterdam. Anju has participated in solo and collaborative exhibitions worldwide, including India, Europe, America, North Africa and Australia. Her prints have been selected for numerous biennials and triennials in Cadaques in Spain; Ljubliana in Slovenia: the International Biennale in Auvergne and the Triennale de Chamellier in France; Triennale de Bharat in India; the International Contemporary Prints Kuala Lumpur in Malaysia; the Berlin Intergraphic 90 in Germany; and the Cracow Biennale in Poland, among others. Her work has been exhibited at the Birla Academy and the Lalit Kala Academy in India; the Strasbourg Fair and the Centre Pompidou Center in France; the Ubersee Museum in Germany; the Stedlijk Museum and the Gemente Museum in Holland; and Galleria Harmonica in Finland. Her art works are in the collections of the National Gallery of Modern Art (New Delhi, India); National Library and the Ministry of Cultural Affairs (Paris, France);  the Bronx Museum (New York, USA); and the Victoria and Albert Museum (London. UK). Her workshops have been held in France, India, Finland and Australia.  Choosing to live in Paris with her daughter, commuting yearly to India, she bridges the cultural barriers between the East and the West.

ANNA CHELMINSKA is a member of The Union of Polish Artists and Designers (ZPAP). She graduated The Academy of Fine Art in Warsaw in 2001. During her study she developed her painting skills in Marian Czapla's, Zbigniew Gostomski's and Krzyszto Wachowiak's studios as well as her printmaking abilities in Irena Snarska's studio. Additionally she was trained by Janusz Petrykowski in painting and drawing, by Edward Tarkowski in studio of wall painting and by Hieronim Neuman in film animation. Anna is an artist uses many techniques, including intaglio printmaking, serigraphy, painting, mosaics, cutout animation and photography. She is also interested in philosophy, art education and criticism. For the past 8 years she have been teaching drawing, painting and printmaking in collaboration with The Effective Action Association. Lately she has focused her interest on non-toxic intaglio printmaking methods. She learned these techniques in Gothenburg in Sweden and improved her skills in Leiden, the Netherlands during a workshop conducted by Henrik Bøegh. Currently Chelminska is cooperating with a group of printmakers from the Netherlands, Italy, Belgium, USA and France working in non-toxic intaglio.

KEITH CHRISTENSEN serves on the faculty of the Art Department of St. Cloud State University where he teaches design, public art and digital applications. His creative work has taken the form of public art commissions, painting and prints. He utilizes photography, game design and maps in his process and he is interested in issue-oriented subjects.  His background involved participation in artist collectives in NYC; PADD, Artmakers and Repo History. He designed The Agitprop Murals of Mike Alewitz written by Paul Buhle and published by Monthly Review Press in NYC. He received his MFA at the Minneapolis College of Art and Design and he previously served on the faculty of the MCAD Institute for Public Art and Design. Recent works include the Freedom Game, commissioned for the Neuberger Museum¹s Public Art Biennial at SUNY Purchase, NY. Another commission was for Local Connections, a public art installation for the Hiawatha Light Rail Transit Program at the Government Plaza station in Minneapolis. His web site (web.stcloudstate.edu/kchristensen/) documents his various projects.

PETE CLARKE lives in Liverpool, United Kingdom and is the MA Course Leader and Senior Lecturer in Fine Art at the University of Central Lancashire, Preston. He studied Fine Art Painting and Printmaking at West of England College of Art, Bristol and then received his MA degree at Chelsea School of Art. Clarke has exhibited extensively, with recent exhibitions in Cologne, Hagen, Rome and Wiesbaden. Old poems and half remembered quotations, industrial streets and suburban parks, architectural relics, follies and monuments, the city and the sea create a subject for Pete Clarke’s work. There is a sense of reconciling simultaneous and contradictory viewpoints, in many ways this is a cubist world, history painting and aesthetic process mediating the constructed image. He is co-organiser of “Eight Days a Week”, through which reciprocal exhibitions, projects and events have been held in Liverpool and Cologne.  Recently Clarke has made paintings, prints and installations with the artist Georg Gartz from Köln, exploring collaborative strategies within contemporary practice questioning individuality, authorship and authenticity. From ‘Collaboration’ catalogue essay by Bryan Biggs, Director of Arts, Bluecoat Arts Centre, Liverpool 2000. He cites “Through this dialogic process a body of painting has emerged which offers us, not a series of composite impressions of the urban landscape, but a kind of visual meditation on the city, an amalgam of different perspectives. The paintings raise questions about how we picture the world, challenging the notion of a single fixed authorial point of view. They also interrogate the practice of painting itself through the methodology of the collaborative approach – the process of applying paint to canvas becoming a discursive act.

CARMON COLANGELO has been the Professor of Art and Director of the Lamar Dodd School of Art at the University of Georgia in Athens, Georgia since 1997. Born in Toronto, Canada, Colangelo formerly chaired the Division of Art and headed the printmaking department at West Virginia University between 1984-1996. With 15 solo shows in the past 10 years and another 100 group exhibitions in the past two decades, Professor Colangelo has exhibited widely, from Philadelphia and Washington, D.C. to Argentina, Canada, England, Puerto Rico, and Korea. Recent solo exhibitions have been held in Guanajuato, Mexico; Venice, Italy; and in Liverpool, England, Sandler Hudson Gallery, Atlanta; the University of Delaware, Newark, and the University of Chapel Hill, NC and at the Philadelphia Print Club, Philadelphia, PA. His works are in collections at the National Museum of American Art, the Whitney Museum of American Art, and the Fogg Art Museum at Harvard University. He has been a visiting artist, at Carnegie Mellon University; the Corcoran School of Art, Washington, D.C and the Tyler School of Art, Philadelphia. Colangelo was the co-organizer of the 24th Southern Graphic Council Conference, Remote Sensing in 1996 and the Cortona International Symposium: A Print Odyssey 2001 in Cortona, Italy. In 2003 Colangelo was named a Distinguished Research Professor at the University of Georgia. The Lamar Dodd School School of Art has over 1,000 art majors and another 100 graduate students. The U.S. News and World Report ranked the MFA program at the University of Georgia among the top 21 in the United States and the printmaking program was ranked among the top 3.

PAUL COLDWELL studied Fine Art at University of West England and the Slade School of Art. Since 1994 he has taught at Camberwell College of Arts (University of the Arts London) where he is now Professor and Postgraduate Programme Director. His inaugural lecture in 2005 Finding Spaces between Shadows was published by the Camberwell Press (camberwellpress@arts.ac.uk. He is also project Leader for FADE (Fine Art Digital Environment) a practice based research project with Camberwell and Chelsea College of Art & Design. He is a Sculptor and Printmaker, engaged with the integration of digital technologies within fine art practice, who has exhibited widely. Solo shows include Recent Prints Edinburgh Printmakers (2005), and Case Studies London Print Studio, London & Queens Gallery, New Delhi, India (2002). Recent group exhibitions include Beyond The Digital Surface, Ewah Gallery, Seoul.(2004) ,International Print Triennial, Cracow ,4th Egyptian International Print Triennale Cairo (2003) and Digital Responses  Victoria & Albert Museum, London (curator & exhibitor) 2002-3. He is currently curating Morandi; Themes in British Contemporary Art, Abbot Hall & Estorick Collection for 2006. His work is in numerous collections including Arts Council of England, Birmingham City Museums, British Museum Imperial War Museum, MOMA New York, Museum of the Book, Holland, New York Public Library, Tate Gallery, Victoria and Albert Museum. He has written extensively on Paula Rego including the catalogue essay for her Print Retrospective in 2005 and a chapter in The complete Graphic work. TG Rosenthal, Thames & Hudson. He has contributed to many international conferences including Impact I & II, PixelRaiders (Sheffield), International Print Symposium, Cortona and Digital Aesthetics  Harris Museum. In 2004 he was guest artist in residence at the Scuola Internationale di Graphica in Venice.

TERESA COLE is an Associate Professor at Tulane University in New Orlans, Louisiana where she holds the Ellsworth Woodward Professorship in Art at Tulane University. She earned a BFA in fiber arts from the Maryland Institute College of Art, Baltimore and received much of her early print education as a working member of Peacock Printmakers in Aberdeen Scotland. She completed an MFA in printmaking from the Cranbrook Academy of Art, Bloomfield Hills, Michigan. Ms. Cole shows both nationally as well as internationally. Recent public collections include: The Art Gallery of New South Wales, Sydney, Australia; the New Orleans Museum of Art, and the Auckland Gallery, Auckland, New Zealand. Recent solo exhibitions include: “Print Installations” at The University of Northern Iowa, in Cedar Falls, and “Tacit Translations” at the Jonathan Ferrara Gallery, New Orleans, Louisiana. She has curated two international print portfolios “Continental Drift” and “The Body Politic” (co-curated with Judy Woodburn) and will spend this summer as a visiting artist at Anchor Graphics, in Chicago and Hard Ground Printmakers in Cape Town, South Africa.

DANIEL DALLMANN holds an M.F.A. in Printmaking from the University of Iowa and is currently Professor of Printmaking at the Tyler School of Art, Temple University, where he has taught for over thirty years. He taught at Temple’s Rome program from 1974-76 and has recently returned from a second two-year assignment to Rome, 2000-2002. He has done workshops and residencies in the United States, Russia and Italy. Dallmann's works are found in many private, corporate and public collections; he has exhibited his prints and paintings in exhibitions across the US and abroad.

JULA DECH has a background in art education and later studies in painting and lithography at the University of the Arts in Stuttgart, Germany. She completed her sudio education in 1968 with professor Fred Dahmen in the Art Academy in Munich. Dech received her MA degree from Berlin's Free University in narrative art and sociology. She had apprenticeship orders at the Free University in Berlin, University of Hamburg, and HfbK Braunschweig in feminist art. From 1984-1985 Dech had a guest professorship in printmaking at the European art academy Trier. She has taught courses in intercultural projects, women's studies and the science of art at Institut für Kunst im Kontext in Berlin since 1986. She has published essays and catalogues on Hannah Höch, Käthe Kollwitz, Georgia O‘Keeffe, Helen Frankenthaler. Her art and writing has focused on apprenticeship organizations; investigations of stories about art and culture; analysis of the social and international roles of artists; artistic responses to war; and feminism.

KIPP DEEDS was born in1973 and grew up in Newtown, Pennsylvania.  Deeds went to art school at Temple University in Philadelphia and later went on to do graduate studies at the University Illinois in painting and printmaking. His recent solo exhibits in 2004 and 2005 have taken place at Millersville University of Pennsylvania, Illinois Weslyan University, and Webster University in St. Louis. Recent group exhibits include “The Comix: Cartoons as Art” at Art In City Hall in Philadelphia; “American Impression: Contemporary American Printmaking” at William Patterson University in New Jersey and “Tell Me a Story of a World Without Words” at City Without Walls in Newark, New Jersey. Deeds has taught at the University of Pennsylvania, Webster University, Temple University and Edinboro University of Pennsylvania.  He is currently a Lecturer in printmaking at Princeton University.  Most recently Deeds was at Frans Masereel Centre, in Kasterlee, Belgium, as a resident printmaker.

MATTHEW J. EGAN was born in Canada, and recently taught printmaking for several years in the United Arab Emirates where he was an Assistant Professor of Foundations and Design at American University of Sharjah, This Fall he has started a tenure-track position at East Carolina University, Greenville, North Carolina, USA. He earned a M.F.A. in Printmaking and Drawing from the University of South Dakota and a B.F.A in Printmaking and Multi Media from the University of Windsor. One of his main areas of interest and research is forging opportunities and links between Eastern and Western image-making traditions and practices through an attempt to identify with cultural and social issues relating to both individual nations and the wider narratives of the eastern and western hemispheres. Recent projects that support his notion of eastern and western relationships include participating in the “Re-Interpreting the Middle East” portfolio exhibited at the Corcoran School of Art and sitting on the accompanying panel at Southern Graphics this year. “The Fertile Crescent Portfolio” was an initial attempt to bring Arab printmakers together, and has been shown in the U.S.A, the U.A.E, Lebanon and Pakistan. He is deeply committed to fostering exchanges between artists through print exchanges, initiating a visiting artist program at the American University of Sharjah, and conducting visiting artist workshops himself, most recently at the Emirates Cultural Center, Vanderbilt University and the University of South Dakota. In his most recent solo exhibitions, “Implication of Representational Forms” demonstrated large scale prints and dimensional paper casts exemplifying Arab icons within a western image composition, and recent prints exhibited at Frogman’s Gallery introduced the first of a series of four color lithographic narrative book pages.

DAVID FERRY was born in Blackpool UK, and studied Printmaking at the Blackpool, Camberwell and Slade Schools of Art in London.  He has exhibited widely, and written, lectured and broadcast on the subject and teaching of Printmaking and also the “Carry On” British comedy films. He has represented England in the Tallinn Triennial of Graphic Art in Estonia (2004), the First and Second International Artists Book Fair in Seoul, Korea (2004/5) where he won the Bronze medal in The International Artists Book Competition, and The Senefelder Stiftung in Frankfurt, Germany (2003). His works are in leading international and corporate collections including, The Art Institute of Chicago, USA, The National Book Arts Collection in Lodz, Poland, The Word and Image Dept of the Victoria and Albert Museum, London, and the Special Books Collection of The Scottish National Gallery of Modern Art. Edinburgh. Corporate collections in the UK include British Airways, The G.E.C. Company, Nuclear Electric Plc, Marconi Instruments, M&S Satachi, Hewlett Packard, Oxford University, Strang Print Collection, University College London and Southampton University. Ferry was the winner of the Pollock/ Krasner Foundation Award, New York, 2002 and was elected a Fellow of the Royal Society of Arts in London in 2001. He was a former Artistic Director of The Curwen Print Study Centre in Cambridge UK, and former Visiting Professor in Fine Art at the Long Island University in New York. Ferry is currently Head of Printmaking at the Winchester School of Art, UK, and an educational consultant to the London Print Workshop.

JOACHIM FISCHER is a Senior Lecturer in German, Joint Director of the Centre for Irish-German Studies, and Deputy Director of the Ralahine Centre for Utopian Studies at the University of Limerick. He teaches courses in German cinema, German cultural history, 19th century German literature, history of the German language, German-Irish connections, and Cultural Studies. His research interests include The history of Irish-German relations; the Irish image of  Germany; national images and stereotypes; travel literature; popular culture; Irish (Gaelic) German translations; and utopian studies. Fischer’s most recent publications include “The eagle that never landed: a history of uses and abuses of the German language in Ireland” in Languages in Ireland edited by M. Cronin and C. Ó Cuilleanáin (2003) and “Aspects of the Irish reception of German culture: Goethe Schubert et al.” in Goethe and Schubert: Across the Divide edited by L. Byrne and D. Farrelly (2003).

ANDREW FOLAN is a lecturer in printmaking at the National College of Art and Design, Dublin, Ireland. Since graduating from the Slade School of Fine Art, London in 1981 he has practiced in print, photography and sculpture. Recent works have combined digital processes with print and sculpture resulting in some highly original and hybrid productions. He is an active collaborator in art related projects in science, medicine and architecture and recently participated in the “Digital Surface Project” culminating with a presentation at Tate Britain in 2003. He has exhibited widely throughout Europe. His recent solo exhibition of layered printed sculptures “Arterial Ink” toured to a number of venues in Ireland as well as London, Paris and Stockholm (1991-2001). More recently his solo exhibition of digital lambda chromes “Stray Light” was shown at the Ashford Gallery, Dublin in 2002. He participated in a group exhibition Dead Bodies at the Centre Culturel Irlandais, Paris in 2003. Andrew has been director of the Black Church Print Studio, Dublin (an open facility print workshop) for many years and was instrumental in its re-establishment in a custom built premises in Dublin's cultural centre in Temple Bar. He was elected a member of the Royal Hibernian Academy in 2002. In 1991 he organized and curated a pan-European exhibition “European Large Format Printmaking” with representation from all EU States. Since then he has curated a number of theme based print exhibitions in Ireland - most recently “The Disasters of War” a contemporary response to war in recognition of the Goya series of the same title. He will co-curate the Swedish Print Triennale in 2007. Andrew Folan published by Gandon Editions (2002) charts the development of his work. His web site www.andrewfolan.com gives a comprehensive insight into this artist's complex and varied productions.

HELEN C. FREDERICK founded Pyramid Atlantic in 1981 and has played an essential role in its development as an international arts center ever since. Frederick has won international acclaim as a paper, print, and mixed media artist, and received the 2000 Governor's Award in the State of Maryland for excellence in the arts. Her work has been exhibited around the world and is in the permanent collections of the Whitney Museum of American Art, the National Museum of American Art, the National Gallery of Art, The Fogg Museum, and the National Museum in Stockholm, Sweden, among others. In addition to her role at Pyramid, Frederick is Associate Professor of Art at George Mason University in Fairfax, VA. She earned her BFA and MFA from Rhode Island School of Design in Providence, RI.

HARUKA FURUSAKA is an independent artist working in watercolor, woodblock printmaking and painting. She lives in Osaka, Japan. She received a BFA in oil painting from Musashino Art University, Tokyo, Japan. On the island of Awaji she was an assistant to the director of Nagasawa Art Park Pilot Program, The Program is a workshop/residency on watercolor woodblock printmaking. She learned the technique of watercolor woodblock printmaking from several printmakers. Furusaka stayed at the residence Ateljé Stundars maintained by the Council of Swedish Education and Culture in Ostrobothnia, Finland. During the residency with woodblock prints, she made abstract images inspired by the different environment. The work was shown at Vaasa City Library, Vaasa, Finland. One of the prints is held in the collection of the Council. In 2004 Furusaka was invited to the United States. She taught workshops in printmaking classes at 5 Colleges and Universities in Philadelphia, Pennsylvania and New Brunswick, New Jersey. Furusaka participated in the 2004 Southern Graphics Council Conference at Rutgers Center for Innovative Print and Paper. At the Conference she demonstrated watercolor woodblock printmaking. She has had solo and group exhibitions in Tokyo and Osaka. Currently Furusaka works in her studio in Osaka. She researches Japanese natural materials for printing and painting.

JO GANTER was born in Yorkshire in 1963, and now works and lives in Glasgow. She was awarded an MA (hons) in Fine Art from the University of Edinburgh in 1988. She has shown work in many group shows across Europe and the US, including the Tyler gallery, Philadelphia (1994), the KALA Institute, Berkeley, California, where she was a fellow in 1994, and the International Print Triennial, Cracow (1997). In the same year the artist also exhibited work in Nuremberg, the Print Biennial at Gyor in Hungary, and the International Print Exhibition at the Portland Art Museum in Oregon. More recently she has contributed to exhibitions in Estonia (Tallin Print Triennial 2001), Sweden (Falun International Print Triennial, 2001), Graphica Creativa 2002 at the Jyvaskyla Art Museum in Finland and in Italy (Chieri, Palazzo Opesso, Engraving Triennial, 2003).  Jo Ganter has also presented solo exhibitions at The Talbot Rice Gallery in Edinburgh (2003), and at the A.I.R. Gallery in New York (2000) and the Hart Gallery in London (2003). Her work has gained her awards and residencies, amongst them a Rome Scholarship (1989), a Boise Scholarship (1993) and a Sir William Gillies Award (2005). She was recently elected to the Royal Scottish Academy. Collections holding her work include The Contemporary Art Society, London, The Museum of Fine Arts in Antwerp, The Jane Voorhees Zimmerli Art Museum, Rutgers, New York Public Library and the Hunterian Art gallery and Museum in Glasgow. Throughout her career the artist has taught at various institutions in Britain and the US, including Wellesley College Massachussetts and the Museum School of Fine Art in Boston. She is currently a part-time Lecturer at Edinburgh College of Art.

ARUNAS GELUNAS was born in 1968, was educated both as a professional artist in Vilnius Academy of Fine Art (1988-1994) and Tokyo National University of Art and Music (1995-1997) and as a philosopher in Vytautas Magnus University (1997-2001) where he defended his Ph.D. thesis in 2001. He has had twelve individual exhibitions of printmaking and painting and has participated in more than thirty group exhibitions in Lithuania and abroad. Gelunas’ scholarly activities include a number of translations of and writings on phenomenology and anthropology of art, modern Japanese philosophy and anthropology, the comparative philosophy and the "non-substantialist turn" in science and humanities. Gelunas' artistic interests has always been very broad: shifting from almost classical etching in the earlier years to the more recent mixed (in technical sense) art pieces strongly gravitating towards the conceptual. He combines the strict rational - "structural"- framework of the drawing or the photograph with the floating - "energetic" - seemingly uncontrolled washes of ink-painting or "lift-ground" technique in etching. He applies this structural-energetic approach to the objects as different as landscape, technology and his own self-identity. In the past few years he has been trying to answer questions like "What is the contemporary mode of my identity as an artist and a member of society?" both in an explicit verbal way (in the form of theoretical writings), and in the more intuitive form of visual art pieces. The aspect of movement and flux is becoming more and more important in his works. Therefore he likes the "fragile", short-lived materials like ink on paper, woodblock or digital print, intaglio. The good balance between the hand-craft and contemporary technology is important to him. Gelunas takes the "middle path" between the classical and the contemporary as the art materials are concerned. His works are mostly monochrome. He currently is an Associate Professor in Printmaking and Ink Techniques at the Vilnius Academy of Fine Arts (Lithuania).

SUSANNE GLAUSER-WASSER lives in Allmendingen, Switzerland and was born 1939 in Geneva. From 1963-1968 she gave birth to four children. After her children became adults from 1989 to the present she has increased her own artistic work which encompasses drawings, printings, designing books and creating objects and sculptures. Her works were shown in single and group exhibitions in Switzerland. In 2000/2002 Susanne Glauser-Wasser represented the Swiss Women Artists at the Women and Art Exhibition in Sharjah, the Women`s Art Festival in Aleppo / Syria and the International Print Biennal in Hungary and Egypt. While not attending the conference, she worked with Barbara Bandi and Carla Neis in organizing the “Flying Carpet” exhibition. She is pictured in the middle.

RUTHANN GODOLLEI is a Professor of Art at Macalester College in St. Paul, Minnesota, USA, where she teaches printmaking, design and art theory. Working primarily in the media of prints and drawings she incorporates political and social commentary in pieces with ironic humor. Godollei's work is in many collections, such as the Belgian Royal Museum of Art, the Croatian National University Library, the Minnesota Historical Society, Rutgers University, and the Frederick R. Weisman Museum in Minneapolis.

GERTEN GOLDBECK is an independent artist living in Hamburg, Germany. She studied fine arts at with Wolfgang Schmitz at the School of Fine Arts, Bremen. She spent a semester at the École des Beaux-Arts, Caen, France in 1995. Some recent exhibitions include “Bread – Form and Symbol”, Museum of Bread-Culture, Ulm (2005); “Women see Women”, Frauenrat at Rathausdiele, Hamburg (2004); "International Miniatures Exhibition 2003", Gallery "Stiklo Karoliuka"“, Villnius, Litauen (2003); and "International Exhibition of Mini Prints“, Museum of Tetovo area, Art Gallery "Arabat Baba Tekk"“, Tetovo, Macedonia. Goldbeck presented a solo exhibition of her prints "Haut der Stadt", at Levantehaus in Hamburg (2003).

SUSAN GOLDMAN is an internationally recognized artist and master printer.  She is owner/operator of Lily Press. She is Adjunct Professor of Printmaking at George Mason University and was the Coordinator for the 2005 Southern Graphics Council International Conference “Power in Print”, held in Washington, DC. Her most recent print project collaboration was with artist Jo Baer, producing a suite of screen prints co-published by Brooke Alexander Gallery, NY and Rutgers Innovative Center for Print and Paper, Rutgers University, NJ. She is Founder and Co-Curator since 1993 of the interdisciplinary community arts project, The Art of Work, The Work of Art ©, which most recent venue was the Art Center/South Florida in Miami, Florida. From 1990 - 2000 she was Pyramid Atlantic’s Special Projects Coordinator, Master Printer, and Book Arts Fair Coordinator.  Her work appears in numerous collections including American University, Charles E. Smith Collection, Washington, DC; Library of Congress, Washington, DC; Cincinnati Art Museum, Cincinnati, OH; The Smithsonian American Art Museum, Washington, DC; Rutgers Archives for Printmaking Studios at the Jane Voorhees Zimmerli Art Museum, New Brunswick, NJ; KPMG Consulting, Washington, DC; AT&T, Alexandria, VA; Westinghouse, Chicago, IL; Amnesty International, Washington, DC; Champion International Paper, Philadelphia, PA. Her most recent exhibitions include “Power Point”, Corcoran Gallery of Art, Washington, DC; “Domestic Policy”, District Fine Arts Gallery, Washington, DC, “Collaboration as a Medium, 25 Years of Pyramid Atlantic”, Pepco Gallery, Washington, DC;  “Monotypes”, 5+5 Gallery, Brooklyn, NY; “4th International Print Triennale 2003”, Cairo, Egypt; “History As Muse”, Delaplaine Visual Arts Education Center, Frederick, MD; “Vessels”, Alex Gallery, Washington, DC; “Masters of the Print: International Print Show”, 416 West Gallery, Denison, TX;  “Pushing Paper, Prints & Artists Books from Pyramid Atlantic”, Hand Workshop Art Center, Richmond, VA; “In Praise of Paper: An Exhibit of American and Vietnamese Artists”, Hanoi College of Fine Arts, Hanoi, Vietnam; “Crossing over Consortium Exhibition”, Swedish-American Museum, Philadelphia, Pennsylvania; “Contemporary Collaborations - The Artist and the Master Printer”, Sheehan Gallery, Whitman College, Walla Walla, WA; “Works on Paper: 22” Moussem, Assilah Foundation, Assilah, Morocco. She received her MFA in printmaking, Arizona State University, Tempe in 1984 and her BFA, printmaking, Indiana University, Bloomington in 1981.

SUE GOLLIFER is a Principal lecturer in Fine Art - Printmaking in School of Arts and Communication, in the Faculty of Arts and Architecture at the University of Brighton, UK and the Course Leader, Postgraduate in Digital Media Arts. She has been a professional artist - printmaker for over 30 years, exhibiting her work regularly throughout the world and her work is held in major international public collections. She is an early pioneer as a computer artist and her work can be seen in the Digital Art Museum DAM (www.dam.org). Her primary research is on 'the impact of new technology within the practice of Fine Art’ and she has presented a number of evaluative and analytical papers on this subject at major international conferences. Gollifer has also been significantly involved in the conference group Computers in Art & Design Education (CADE), since its inception in 1995, and she is presently Vice-Chair of that group. She has been curator for a number of exhibitions, which have accompanied the CADE biennial conference - ArCade I, II, III, & IV, the British International Open International Exhibitions of Digital Fine Art Prints', GAMUT and BitStream. All of these exhibitions have received widespread international recognition, and have toured extensively throughout the UK and Russia. In 2004 she was appointed the SIGGRAPH Art Gallery Chair for 2004, the 31st International Conference on Computer Graphics and Techniques, held in Los Angeles, USA. She is on a number a number of National and International Committees, including a Director of DACS, Design and Artist Copyright Society, UK; the Arts and Humanities Data Service (AHDS) -Visual Arts; CAA, College Arts Association, USA – Professional Practices Committee. She is on the Editorial Board of Digital Creativity, a refereed journal, and the assistant editor and curator of the visual section 'Artist Space', which examines the work of international artists and printmakers using digital technology. She has made valuable worldwide contacts through her activities, and has contributed to the development of an international community of artists and scholars with a shared interest in new technology and printmaking.

BETH GRABOWSKI is Professor of Art at the University of North Carolina-Chapel Hill. A member of the faculty since 1985, she has been recognized for her excellence in undergraduate teaching with a Johnston Award in 1993 and a Bowman and Gordon Gray professorship from 1994 to 1997. Grabowski teaches a variety of classes in the department, including studio courses in drawing, design, book arts and printmaking. Grabowski travels frequently as a guest artist / speaker, giving lectures and workshops. She has been actively involved in the Southern Graphics Council, the largest professional organization for print artists, serving as its vice president from 1994-1996. Grabowski is also the author of A Printshop Handbook, A Technical Manual, (1991 McGraw-Hill). She holds a B.A. with highest distinction from the University of Virginia and received her MFA from the University of Wisconsin-Madison in 1985. She has received three North Carolina Arts Council Awards. Her work has been represented widely in national and international venues including the American segment of the 5th Biennial of Slovene Graphic Arts in Novo Mesto, Slovenia in 1999. Grabowski's prints, drawings, and artist books are included in numerous public and private collections. Beth Grabowski's art explores aspects of identity and relationship experienced from the perspective of motherhood. Issues such as nurturance, sentimentality, expectation, domestic labor, familial hierarchy and family narrative motivate her work. The work frequently exists as a documentation of the process of familial relationship through collaborative works. Her most recent works have utilized the detritus of family life to reflect on these issues. She has organized the international exchange portfolio tribute to Kåthe Kollwitz for IMPACT 4.

WIM HABRAKEN was one of the founders of ŒGrafischAtelier Den Bosch, a community of printing studio. He is now owner of his own silkscreen printing studio and workshop ŒKurtface, specializing in printing and publishing original silkscreen graphic art. He is also part owner of the graphic art gallery ŒIetsmooisaandemuur.nl, located down one of the old winding streets in the centre of Œs-Hertogenbosch. Habraken is member of the Textile/Fashion Design staff of Utrecht College of Art. His studio workshop and gallery is a hub of activity, where you can always find apprentices or other young people experimenting with different techniques and learning new skills. He is fully involved in the many facets of developments within the graphic arts and is a keen participant in projects with other artists and art institutions. Habraken has built up a reputation for specializing in the combination of PhotoShop and silkscreen printing. His own work is mostly experimental. His silkscreen prints often include three-dimensional effects, in addition to other extreme applications on wood, metal and glass. His most recent work has involved experimenting with inks influenced by heat. This is a true meeting of technical skill and artistic merit. As a master printer, Habraken’s work is a natural extension of his profession. Even now, with the digital revolution in printing, He is one of the first to make this technique available for the artist and to use this digital process for graphic fine art. Not being afraid of the digi’s, he calls this, “Use it, experiment and turn it to your advantage”.

GRAZYNA HALASA is a Curator in the Muzeum Narodowe w Poznaniu (National Museum in Poznan) where she has been Head of the Print Cabinet since 1996. She studied the history of art at Adam Mickiewicz University in Poznan, receiving her diploma in 1986. Since the early 1990’s her research has focused on graphic art. Her primary interests are the graphic oeuvre of Rembrandt and German Modernists from the circle of the Berliner Sezession and Expressionism as well as their impact on graphic art in Poland. Author and co-author of texts on and exhibitions of prints and drawings including Max Klinger (Muzeum Narodowe w Poznaniu,1993); Calcografia Nacional Madrid 1996), Paula Modersohn-Becker (2001), Paul Klee (2001), and the Pozna?-based Expressionist Bunt Group (2003/04). In 2004 Halasa received an honourable mention for the exhibition of Bunt at the national Sybilla competition. Active in the local art movement, she is also a member of the Poznan Association for the Promotion of Art (PSPS).

JANA HARPER received her MFA degree from Arizona State University, in 2001 and a BA in liberal arts from Evergreen State College, Olympia, Washington. Since 2002 she has been a Lecturer in Art (Nancy Kranzberg Illustrated Book Studio), Washington University in Saint Louis. Harper was an artists-in-residence at the Cité Internationale des Arts in Paris, France in 2004. Her books and prints are in the collections of the J.S. Blanton Museum, University of Texas at Austin; The Sackner Archive of Concrete and Visual Poetry, Miami Beach, Florida; The Janet Turner Print Collection, California State University, Chico, California; and the Washington University Libraries, Special Collections, St. Louis, Missouri.

PAUL HARRISON is a multi media and cross disciplinary artist with a background and prevailing interest in print, printmaking and publishing. His practice inherently combines the use of traditional methods and materials with new and developing technologies. Paul graduated from Duncan of Jordanstone College of Art with an honours degree in Fine Art, specializing in printmaking, (1994) and subsequently, after a concentrated period of study in Barcelona (1995), from Winchester School of Art with a Masters degree in European Fine Art. During 1996-98, he also played a central role as co founder and subsequent committee member of Generator, (www.generatorprojects.co.uk) a now successful and fully established arts organisation based in Dundee. Paul is currently studying part time as a practice based PhD research student as part of his appointment as research assistant at the recently founded Visual Research Centre, University of Dundee. (www.vrc.dundee.ac.uk). He is based in the School of Fine Art publishing facility where he collaborates with artists and researchers on the conception and production of a variety of print projects including artists editioned books and print folios. Projects have included the production and management of 100 artworks/artists for the "Leabhar Mor/Great Book of Gaelic," commissioned by the Gaelic Arts Agency and published in full by Cannongate (2002). Also the "Higher Still (prints for schools)" project, the "Voices of Scotland" project for the new Scottish Parliament building and book and folio projects with artists such as Richard Long and Fiona Banner. His own research and practice has focused for several years now on developments made in and around the biosciences and in particular gene research. Working relationships and collaborations with scientists at laboratories such as the Human Genetics Unit, MRC, Edinburgh and the University of Dundee Biocentre have fuelled and informed the core of this work and continue to be integral to his investigation and practice.

JOHN T. HAWORTH fine art prints have been exhibited nationally and internationally. Examples can be seen at www.commecaart.com. Printmaking is his chosen medium because of the potential it offers for the exciting exploration of delicate surface properties. This resonates with his interest in the transient moment. His research on creativity and the embodied mind draws on his experience in psychology and his practice and training in fine art. In October 2002 he was an invited member of a panel discussing “Research into Art and Technology” at the Fourth Creativity and Cognition Conference at Loughborough University, Loughborough, UK. In November 2002 he organized a seminar and exhibition at the Deluxe Gallery, London, as part of his research funded by the Arts and Humanities Research Board in the UK. Material from this is on the website www.creativity-embodiedmind.com. A DVD of the research project has been made, which can be obtained at cost, plus packaging and post. In August 2003 he presented a paper on embodied mind, technology and creativity in digital printmaking in a panel on ‘Dot Matrix: New Theoretical Challenges’ at the 3rd Impact International Printmaking Conference in CapeTown, South Africa. In April 2005 he organized a workshop in London on ‘Freedom and Constraint in the Creative Process in Digital Fine Art’ at which the following paper was presented: Haworth, J.T., Gollifer, S., Faure-Walker, J., Coldwell, P., Kemp,T., and Pengelly, J.(2005) “Freedom and Constraint in the Creative Process in Digital Fine Art” Proceedings of the Creativity and Cognition Conference 2005, Goldsmiths College, London, UK pp 310-317

RANDY HEMMINGHAUS is the Master Printer and Shop Manager of the Rutgers Center for Innovative Print and Paper(RCIPP), a not for profit professional collaborative workshop located at the Mason Gross campus of Rutgers University in New Brunswick, New Jersey. Randy Hemminghaus has collaborated with many professional artists over the last 20 years, at the RCIPP, at his own shop Galamander Press in New York City, which ran for 10 years and at Vinalhaven Press in Maine.

RAYMOND HENSHAW is an artist based in the Northern Ireland. He has been a member of a variety of organizations including Flaxart, Paragon studios, and currently Belfast Print Workshop, where he has been a member of the board for the last four years. Amongst many duties at the latter he recently established the Belfast-Johannesburg artists exchange program. He studied in England, where he received a Ma and BA in Painting. He has received numerous awards from a variety of institutions including, The Arts Council of Northern Ireland, British Council, Department of Foreign Affairs. He has completed numerous commissions, Royal Hospitals Belfast, currently completing work for South East Belfast Trust. Published "Time & Motion” with historian Seamus Lynch on Irish identity. Given workshops and teaching posts, in Europe and Africa, currently employed at Newry Institute, Northern Ireland, teaching across 4 courses in the Art department. His recent work has focused on elements of social politic and is explored across a variety of mediums, but chiefly printmaking and photography. This work has been exhibited throughout Ireland, Europe, Africa and USA including, Fenderesky Gallery, Old Museum, Queens University, Belfast, Project Arts Centre, Original Print Gallery, Dublin, Ithaca, New York State, In Bag Factory Johannesburg, Rhodes University Cape Town (Impact 2003) and Free State University Bloemfontein, South Africa, In Cite Des Arte, Paris, Barcelona, and Hanover, and other locations chiefly across Europe.

DANIEL HEYMAN grew up outside New York City. He earned degrees from Dartmouth College (AB, 1985) and the University of Pennsylvania (MFA 1991). A college professor since 1997, he currently teaches at the Rhode Island School of Design, and Tyler School of Art. His works have been exhibited at The Portland Museum of Art; Butler Museum of American Art; 55 Mercer and Mary Ryan Galleries, and Marymount Manhattan College in New York; Mangel Gallery, Dolan Maxwell Gallery, Fleisher Art Memorial and the Philadelphia Art Alliance in Philadelphia. He has also had solo exhibitions in Los Angeles, and Canberra and Sydney, Australia. In 2002 Mr. Heyman studied Japanese woodblock printmaking at the Nagasawa Art Park in Awajishima, Japan. In 2004 Heyman organized an exchange between the Philadelphia region and the Nagasawa program through the Philadelphia Print collaborative. He was awarded a Pennsylvania Special Opportunity Grant (2005), a RISD Professional Development Grant (2005), a Millay Colony -- Forest Fellowship (1994), and a Reynolds International Fellowship from Dartmouth College (1986-7). His works are in many public and private collections, including the Arkansas Art Center, the Portland Museum of Art, the Hood Museum of Art, and the Dartmouth College Library. Heyman’s work has been noted widely, with articles appearing in the Philadelphia Inquirer, the New York Times, Philadelphia Weekly, Capital Q, Roberta Fallon’s Artblog, City Paper, The Hartford Current, The Berkshire Eagle, and Art Matters. He has written articles for Water Color Magazine, American Ceramics, and Ceramics Monthly. Mr. Heyman was chosen as a Philadelphia Portfolio Artist for 2005, is on the Board of the Philadelphia Print Collaborative, and has served on the boards of the Queer Caucus for Art at the College Art Association and the Alumni Board of the University of Pennsylvania’s School of Design.

JOHN HITCHCOCK was born in Lawton, Oklahoma and grew up in the Wichita Mountains of Oklahoma. He is an Artist and Assistant Professor of Art at the University of Wisconsin-Madison. He earned his MFA at Texas Tech University, Lubbock, Texas and received his BFA from Cameron University, Lawton, Oklahoma. He is the recipient of many honors and awards including: the American Photography Institute, National Graduate Seminar Fellowship at New York University, Tisch School of Arts and a Jerome Foundation grant, Minneapolis, Minnesota. His current works are a blend of printmaking, digital imaging, video, and installation that depict personal, social, and political views. Exhibitions of his art works include group shows at the Nathan Homestead Community Arts Centre (Manurewa, New Zealand), Toimairangi School of Maori Visual Culture Te Wananga o Aotearoa, (Hastings Hawkes Bay, New Zealand), International Darmstadt Waldkunstpfad /Forest-Art-Path(Darmstadt, Germany), TransitARTen - Vogelfrei 5, Kunstentdeckungen in Privatgärten (Darmstadt, Germany), South African Museum (Cape Town, South Africa), Museu de Arte de Brasilia (Brasilia, Brazil), Seacourt Collaborative Press (Bangor, Ireland), IV International Biennial of Photography (Reus Catalonia, Spain), Museum of Contemporary Art (Santiago de Chile), Institute of American Indian Art Museum (Santa Fe, New Mexico), New York University Tisch School of Arts (New York), Exit Art (New York), The Print Center (Philadelphia, Pennsylvania), and Anton Gallery (Washington, DC). Recent Solo shows include: AICH Gallery (New York City), North Dakota Museum of Art (Grand Forks, North Dakota), Western Michigan University (Kalamazoo, Michigan), Macalester College (St Paul, Minnesota), The University of Arizona (Tucson, Arizona),University of North Texas (Denton, Texas), Xavier University (Cincinnati, Ohio), Wisconsin Academy Gallery (Madison, Wisconsin), University of Oklahoma (Norman, Oklahoma), University of Northern Iowa (Cedar Falls, Iowa), Intermedia Arts (Minneapolis, Minnesota), and Living Arts of Tulsa (Tulsa, Oklahoma).

LAURA HOEK will be Wim Habraken¹s (Kurtface silkscreen printing) helping hand. They were introduced a few years ago, whilst printing a painting of hers. This cooperation went so well, that they decided to experiment further, exploring all kinds of different techniques; even so far as to print images of cow’s heads on pancakes as an installation. Edible art! Laura Hoek graduated from Tilburg Art Academy in 1987 in Photography and textiles. She has worked as an artist since. In her earlier years, she made installations, which were constructed on the spot. During this period, she was also involved in making video-installations and large abstract drawings. In tandem with her work as an artist, she gives art classes for adults and has developed educational projects for children. She has also been asked to set up local community art workshops for Œs-Hertogenbosch. In her paintings and drawings the subject of the possibility (or the impossibility) of merging with another is explored. The individual verses the impulse to herd and disappear within the group; the connection or disconnection of two spheres. Another part of her work concerns the cow’s head paintings. In these portraits of cows, she approaches her works from the other direction. In the Netherlands the ubiquitous cow is everywhere; almost a symbol of the country. With the composition remaining constant, Laura Hoek tries to imbue each portrait with individuality. This is achieved by each piece having a different approach to technique and color. She has exhibited regularly over the past few years. This autumn two exhibitions are planned of her cow’s head paintings in the Netherlands. See her web site: www.laurahoek.nl

JOANNA HOFFMANN was born in 1968 in Poznan, Poland. She studied at the Academy of Fine Arts in Poznan where she received an M.A. Diploma (with distinction) in 1992 and a Doctorate in Visual Arts from the Department of Multimedia Communication in 2000. Hoffmann has been a lecturer at the Academy of Fine Arts in Poznan since 1997  working in the field of artists' books, installation, sound and video and is the co-runner of ON Gallery in Poznan. Hoffmann's recent solo exhibitions include “Tones & Whispers”, AT Gallery, Poznan, Poland (2005); “Between Distances”, Galerie Horst Dietrich, Berlin (2004); “Beyond the line of eyelids. Travel," XX1 Gallery, Warsaw (2004); and "Harmonia Mundi - exercises in perspective", Kingsgate Gallery, London (2002). Recent group exhibitions include "Cybersonica” Dana Centre, Science Museum, London (2005); "WRO 05 11th International Media Art Biennale," Wroclaw, Poland (2005); “Inner and Outer Perspectives,” Callendar Park Gallery, Falkirk Scotland (2004); “The Art of the Ten,” Rathausgalerie, Munchen, Germany (2004); “Bread Matters” - Museum of Water, Lisbon,  Portugal (2003). Hoffman has produced an extensive number of book and video works, and has her art in the collections of the Centre for Contemporary Art in Warsaw, Poland; London Institute, Chelsea College of Art and Design, England; The Bristol Art Library, England; the Book Art Museum, Lodz, Poland; King Stephen Museum, Szekesfeher, Hungary; Shin Gallery Collection, Hiroshima, Japan; and the International Collection of Contemporary Creative Artists’ Books, Marseille, France. In 2004 she received a residency from the Art Omi International in Ghent, New York, USA.      

BILL HOSTERMAN is an Assistant Professor of Art at Grand Valley State University in Allendale, Michigan, where he has taught printmaking, drawing and foundations since 1999. He has degrees in printmaking from The Pennsylvania State University and Indiana University. During the summer of 1993, Bill apprenticed at the K. Caraccio Printmaking Studio and Bob Blackburn's Printmaking Workshop, both in New York City. In 1995, Bill went to South Africa on a Fulbright scholarship to study printmaking. He spent a year in Johannesburg, working primarily at The Artists' Press, a lithographic printshop owned and operated by Tamarind Master Printer Mark Attwood, and which was featured at IMPACT 3 in Cape Town. During his time at The Artists’ Press, he editioned several fine art books, including one by a group of Bushman artists, and was introduced to a printmaking technique called drypoint lithography.Hosterman has also studied plate lithography at Tamarind Institute's summer workshop and non-toxic printmaking with Keith Howard in Canada. He has exhibited his work both regionally and nationally, and has recently completed two commissions. This summer he returned to the K. Caraccio Printmaking Studio for a three-week printmaking residency to prepare work for an upcoming exhibit in New York City.

MARK HOSFORD was born in Kansas City. He moved to Lawrence, Kansas in 1993 to pursue a BFA in Studio Arts at the University of Kansas. In 1998 he moved to Knoxville, Tennessee as a Graduate Teaching Assistant at the University of Tennessee, Knoxville. After receiving his MFA in 2001, Mark accepted a teaching position at Vanderbilt University in Nashville Tennessee, where he currently resides. Mark is currently a Vice-President for the Southern Graphics Council. Specializing in Printmaking, Drawing and Digital works, his art uses narrative imagery to reveal societal wonders and blunders as well as personal investigations. He is represented by Peligro Gallery in New Orleans as well as Cumberland Gallery in Nashville. Visit his website (www.sugarboypress.com) to learn more about his work as the self-appointed Director of the International Dogfood Museum as well as his other projects.

PETER HÖYNG received his Ph.D. in 1994 from the University of Wisconsin-Madison. This fall he has taken as position as Chair of the German Department at Emory University in Atlanta, Georgia, USA. Prior to this he was Chair of the German Studies Program and Associate Director of University Honors Program at the University of Tennessee, Knoxville. Höyng is a recipient of the “University Studies Award for Outstanding Contributions to Interdisciplinary Scholarship” and the “Jefferson Prize” at the University of Tennessee. From 2001 to 2004 he developed an innovative, interdisciplinary course on Berlin which was supported through grants from the Max Kade Foundation and the Checkpoint Charlie Foundation. Höyng has published two books, Die Sterne, die Zensur und das Vaterland: Geschichte und Theater im späten 18. Jahrhundert (Wien, Köln, and Weimar: Böhlau, 2003) and Embodied Projections on History: George Tabori’s Theater Work (Tübingen: Francke, 1998). He has an extensive record of published articles, book reviews and presentations at national and international conferences. He is currently working on a book about literary influences on Ludwig van Beethoven (1770-1827).

PAWEL IGNACZAK works as Assistant in the Print Room of the National Museum in Pozna?. He is also preparing a PhD thesis about the graphic work of Jean-Pierre Norblin de la Gourdaine at Adam Mickiewicz University in Pozna?. There he studied the history of art and Italian and French literatures. His interests focus on the European art of the 18th century, especially on the problem of the exchange of artistic ideas between nations.

STEPHEN INGGS is a practicing fine artist and associate professor at the Michaelis School of Fine Art, University of Cape Town. He holds a Master of Arts (Fine Art) degree from the University of Natal and a Postgraduate Diploma in Printmaking from the University of Brighton, England. Inggs has recently held professional solo exhibitions of his creative work at Hacklebury Fine Art Ltd in London and Gallery Joao Ferreira in Cape Town. These exhibitions reflect his interest in overlooked objects as emblems of transience, exploring their history, cultural residue, metaphorical associations and meaning. His work has been included in numerous international group exhibitions including AIPAD in New York, A.r.e.a. Art Region End of Africa in Reykjavik, Iceland and the International Print Triennial 2003 in Krakow, Poland where he was a prizewinner. Inggs has also curated various print portfolios, produced and published an artists’ book on lithography and co-convened the 3rd Impact International Printmaking Conference in 2003.Inggs work is held in collections locally and abroad including the South African National Gallery, Durban Art Gallery, University of Cape Town, Rand Merchant Bank, MTN, Sanlam, Arup London, Northwestern University and the Library of Congress in the USA.

GESINE JANZEN is an Assistant Professor of Art and Head of Printmaking in the School of Art at Montana State University in Bozeman, Montana. She teaches courses in printmaking and drawing, including lithography, digital prints, and monotype. She moved to Bozeman from Kansas City, Missouri, where she worked as Assistant Director of the Lawrence Lithography Workshop and as adjunct lecturer at the Kansas City Art Institute and The University of Missouri. She earned an MA and MFA at the University of Iowa, and undergraduate degrees from the University of Kansas and Bethel College, Newton, Kansas. She has shown her work in the United States and internationally in solo and group exhibitions. Two recent shows include the International Print Center in New York, and Print Arts Northwest in Portland, OR. Her work can be found in museum and corporate collections such as the Nelson Atkins Museum of Art, Sprint, and the Hallmark Collection in Kansas City. Janzen’s recent woodcuts and etchings incorporate autobiographical images of hand-built structures, play houses, forts, and landscapes.

TERESA JAYNES is the Director and Co-Founder of the Philadelphia Print Collaborative and a practicing artist, Jaynes has directed two regional print festivals, three community art projects, the publication of five invitational print portfolios, workshops, lectures, and numerous special events. Since 2000, Teresa Jaynes provides leadership to the staff, committees and board; facilitates individual and organizational partnerships; and supervises the overall financial and programmatic direction of the organization. Throughout the past five years, Ms. Jaynes has brought the organization from concept to reality by working closely with other arts leaders and artists across the Philadelphia region. Produced by the Philadelphia Print Collaborative, Philagrafika, an international festival for the printed image, will premier in Philadelphia in 2009. With Philagrafika, Ms. Jaynes will help place the Print Collaborative on a global stage by welcoming an international audience to this seminal event in the history of printmaking. Ms. Jaynes has previously served as the Exhibitions Director for the Philadelphia Folklore Project. In addition to her experience as an arts administrator, Ms. Jaynes is also an accomplished artist who has long collaborated with local arts organizations, including Taller Puertorriqueno, Samuel S. Fleisher Art Memorial, The Painted Bride Arts Center, and The Rosenbach Museum and Library. She is a recipient of the Pew Fellowships in the Arts, an Independence Foundation fellowship and a Leeway Foundation Window of Opportunity Grant.

ANITA JUNG received her M.F.A. from the University of Wisconsin-Madison where she focused on print media. She was the recipient of the Arts Midwest/National Endowment for the Arts Regional Visual Arts Fellowship in 1992 and was awarded an Illinois Art Council Project Grant in 1993. Her art has been widely exhibited in juried, invitational and one-person exhibitions throughout the U.S. She has also exhibited work in Argentina, Iceland, Puerto Rico, China, and Poland. Her work is in numerous national and international collections. She has served on the Board of the Southern Graphics Council and the Mid-America Print Council. She has taught at the University of Tennessee, Knoxville since 1999.

DARIUSZ KACA was born in Kutno in 1960. He is presently working as a lecturer (Dr. Hab) in the Studio of Woodcut Techniques at the Department of Graphics and Painting at Strzeminski’s Academy of Fine Arts in Lodz. He studied at the High School of Fine Arts in Lodz in 1983-1989 and received his diploma in the Studio of Editorial Graphics headed by Professor S. Labecki and in the Studio of Woodcut Techniques headed by Professor A.M.Bartczak. He pursues artistic and design graphics, artistic book and painting. In artistic graphics he is well known for his mono and multi-plate color prints. Kaca’s works are concerned with responsibility of form or the visual shape of the wide range of contents; although perhaps it is a paradox, that this creation is open in its contents and various interpretations, and closed in form, as it is logical and calculated in details. The themes for his works come from wide areas of religion, mythology, astronomy, cosmography and cosmology. He had 15 individual shows and has taken part in more than 100 collective exhibitions in Poland and abroad. He has been awarded a few international distinctions and prizes in graphics and artistic books competitions and has his works in various private and publics collections including in Poland, Japan, Germany, Egypt, Belgium, Romania, Indonesia, Hungary and USA.

APRIL KATZ earned her M.F.A. from Arizona State University in 1988. She is an Associate Professor at Iowa State University where she teaches printmaking. As faculty advisor to the University Print Society she organizes an annual, international postcard print exchange. In 2002 the College of Design at Iowa State University awarded Katz the Polster Teaching Award and in 2001 the Faculty Award for Extraordinary Performance.Katz currently serves as President of the Southern Graphics Council and was Vice-President from 2002 - 2003. Katz has been a visiting artist at the University of Colorado at Boulder, Arrowmont School, Frogman's Press, University of Wisconsin at Whitewater, East Tennessee State University, and Nene College of Art and Design in Northampton, England. Katz's prints have been included in 100 group shows since 1980. She has had solo exhibitions most recently at Missouri Western State College (2002), the Center Gallery at the University of Wisconsin at Whitewater (2001) and at Artemesia Gallery in Chicago (2001). She has received one dozen awards in juried exhibitions since 1990. Katz has received ten competitive grants for printmaking research and the production of an artist's book since 1995 including one from the Iowa Arts Council. Her work is included in the collections of the Nelson-Atkins Museum of Art, Kansas City, Missouri; Fogg Art Museum, Harvard University; and the Corcoran Gallery, Washington, D.C. Katz was featured in Carol Pulin's 2001 Contemporary Impressions article, "April Katz."  Her work was also reviewed in the 2000 Contemporary Impressions article, "Balancing Act: Man and Technology in the Digital Age," written by Brad Shanks. Katz authored the 2001 article, "The Monoprint A Singularly Effective Tool for Enhancing Visual Literacy" in Selected Readings of the International Visual Literacy Association.

THOMAS KILPPER was born in Stuttgart in 1956 and lives in Berlin, Germany. He studied Fine Arts at the Staatliche Kunstakademie in Nuernberg, Duesseldorf and Frankfurt am Main. In 1999-2000 he received a Hessian Art Foundation Grant to work and live in London during which time he also received Project-fund Grant from London Arts for the installation “Drowning Hercules” Kilpper received the HAP-Grieshaber Prize, (VG-Bildkunst and Stiftung Kunstfonds Bonn) in 2004. His recent projects and exhibitions include “Castoren zu Half-Pipes”, Ahaus, Sculpture-Bienial Munsterland (2005); “Lighter than Ai”r, (planned) air objects in Ramallah, Palestine in collaboration with Tomas Saraceno (2005); “Ulrike Meinhof”, Meerrettich Gallery, Glaspavillon Volksbühne, Berlin (2004); “Bakery” (1997-2004), Installation, Heide-Projects, Art Frankfurt (2004); “AL HISSAN – The Jenin Horse”, sculpture-project with Palestinian youths in the public space in the occupied territories in collaboration with the Goethe Institute; “Fuck your Landlord”, field-work, sculpture, performance, video with movable shed (2004). Kilpper is internationally renown for his use of architectural scale woodcut methods to transform historical buildings and spaces. In 2000 Kilpper created “The Ring”, a monumental woodcut and installation, held at the Orbit House in London. His 1998-99 project  “Don´t Look Back” was completed at Camp King, a United States Army base in Oberursel nearby Frankfurt on Main. Prior to this, in 1997 he completed “Russian Parquet” a woodcut pulled from the the parquet flooring of the former military mission of the Sovjet-Union in Frankfurt on Main, Germany. His works are in the collections of the Tate Gallery, London; Museum of Modern Art, Frankfurt; British Library, London; South London Gallery, London; Municipalitie’s Collection of Nürnberg. 

CAROLINE KOEBEL’S training in film theory and history first lead to the production of experimental films and then to an interdisciplinary practice spanning a range of media including digital video, performance and writing. Koebel holds a BA in Film Studies from University of California, Berkeley and an MFA in Visual Arts from University of California, San Diego. Histories of conceptual art, feminism (i.e. feminist film theory), and sociopolitical critique converge in her commitment to seeking, if not always locating, alternate modes of resistance to dominant ideologies, such as commodity culture, gender conformism, and war ecology. Her recent solo exhibitions/screenings have been held at the Usher Gallery, Lincoln, England; the Centre for Contemporary Art at Ujazdowski Castle, Warsaw, Poland; and the Robert Beck Memorial Cinema at The Collective: Unconscious, New York, NY. She was represented at the 2004 Liverpool Biennial in the "Elusive Quality" media program and at Cork 2005: European Capital of Culture in "the Vinyl Project." “I Want to Have Your Baby” (2003 - ongoing), Caroline's collective cross-media action repopulating the world with humane beings (http://www.buffalo.edu/~cgkoebel/projects/b_con.html), has been staged at such venues as "El Delito del Cuerpo/The Crime of the Body," Havana, Cuba; 8th Gay and Lesbian Cultural & Film Festival, Budapest; New York University Lecture Series, NYC; free cooperation conference: Networks, Art, & Collaboration, Buffalo, NY; National Graduate Seminar, Photography Institute, Columbia University, NYC; and OMSK Roam London. She has written on film, art, performance, and culture for such publications as Wide Angle and Art Papers. Koebel is an Assistant Professor in the Department of Media Study at the University at Buffalo (State University of New York), where she teaches courses such as Art Practicing the Body, Banned and Censored Cinema, Women Directors, and Site-Specific Installation.

CYNTHIA KUKLA received her BFA from the School of the Art Institute of Chicago and MFA from the University of Wisconsin-Madison. She is a Professor of Art at Illinois State University where she has taught since 1993. Prior, she was tenured at Northern Kentucky University located outside Cincinnati, Ohio. She teachs painting, drawing, aqueous media, graduate seminars and the special topics "Contemporary Investigation of the Human Figure." This course resulted in distinguished exhibitions of student work in national juried printmaking exhibitions and in "Illinois Women Artists: the New Millenium," a two-year traveling exhibition sponsored by the National Museum of Women in the Ars, Washngton, D. C. Students begin coursework in "Contemporary Investigation of the Human Figure" by drawing directily from cadavers on paper or etching plates or in watercolors. They are the only art program that received special permission to use the cadaver lab at the University of Illinois-Chicago School of Medicine once the cadaver lab was closed at Illinois State. Etchings of observed cadavers in particular have been selected for exhibitions. In her studio work, Cynthia Kukla has exhibited in over fifty solo exhibitions at museums, art centers and galleries in the United States. She has participated in over 150 group exhibitions including the National Watercolor Society Annual Exhibition at the Laguna Beach Art Museum, California, the invitationals "Watercolor USA 1986: the Monumental Image" at the Springfield Art Museum, Missouri and the two-year traveling "Fact, Fiction and Fantasy: Recent Narrative Art in the Southeast" originating at the University of Tennessee, Knoxville. Her work has been seen on three continents. International invitational exhibits include: the Palace of Art and Vivarosi Gallery, Budapest, Hungary; Kharkov Art Museum, Ukraine; Fort Sztuki Association, Krakow and Fine Arts Academy of Warsaw, Poland; European Center for Arts and Letters, Nice, France and the American Embassy, Quito, Ecuador. In 2004, she was a keynote speaker for the exhibition "Coming of Age in Ancient Greece" at the Cincinnati Art Museum, Cincinnati, Ohio. She spoke on numerous panels and was panel chair for "The Role of Lost Art Techniques in the Postmodern Era for the 1989 College Art Association annual conference in San Francisco. She authors a website "Lost Art" (cfa.ilstu.edu/cmkukla) and is a Paul Harris Fellow of Rotary International.

MIRTA KUPFERMINC was born in Buenos Aires, Argentina as the daughter of parents who were Auschwitz survivors. She grew up neither with grandparents nor with close relatives, without photographs or belongings of other people before her parents and this deeply shaped her art and her concerns with her identity and cultural heritage. In 1971, before turning 16, she entered the National School of Fine Arts, Manuel Belgrando and graduated as a National Teacher of Drawing. From 1975-77 she studied at the National Fine Arts School, Piridiano Pueyrredón and was awarded the degree of National Printmaking and Drawing Professor. In 1978, she started working at the Superior School of Fine Arts, Ernesto de la Cárcova and was promoted in 1991 with the degree of Printmaking Professor. In 1997 Kupferminc received the National Printmaking Award. In 1998 she was invited by the Japanese Association PRINTSAURUS to mount some exhibitions at galleries and museums in Japan. She has represented  Argentina in various international biennials, and  worked on the “Honeymoon Project” with the Catalan artist Antoní Miralda in Los Angeles in 1992. Internationally, she has participated at exhibitions in Cadaqués, Madrid, Sevilla, (Spain); Museum of Fine Arts of Taipei, (Taiwan); galleries and museums in Tokyo and other Japanese cities, Germany, Israel, United States of America, Poland, France, Hungary and England, among others. Mirta Kupferminc has a strong commitment to human rights issues through her art and advocacy. She has been advising Huesped Foundation, an NGO that fights against AIDS, for more that 10 years, in prevention projects through art; and has collaborated with the International Aids Society (IAS) since 2001. Active within the Jewish community, Kupferminc is a consultant to the Jewish Museum of Buenos Aires, is often collaborating with the Simón Wiesenthal Foundation and Memoria Activa, among others.

FRITHA LANGERMAN is a senior lecturer at the University of Cape Town, teaching in the new media and printmedia sections of the Michaelis School of Fine Art. She trained at the University of Cape Town BAFA and MFA (Printmaking). Research interests include bookarts; the museum object; monuments and memorialization in South African history; scientific representation of the body and the display and ordering of information. This last interest has led to a number of exhibitions and the participation in genomic conferences. She has exhibited nationally and internationally and was the joint winner of the 3rd Cape Town Public Sculpture Commission in 2002. She has curated a number of exhibitions including “Lexicons and Labyrinths: the Iconography of the Genome” at the South African Museum and “Curiosity 175” at the University of Cape Town in 2004.

ENRIQUE H. M. LEAL was born in Brazil and studied and worked in various printmaking studios in the United States. Currently Leal is an Associate Professor in Introduction to Printmaking at the Fine Arts Faculty of the University of Castilla La Mancha, Cuenca, Spain. He received his B.F.A from the Politechnical University in Valencia and M.F.A. and a PhD. (dissertation: Process and Replica in Jasper Johns) from The University of Castilla La Mancha in 2001. Previous to his appointment at the U.C.L.M., Enrique has editioned prints for major artists in Spain and the U.S. His work has been shown widely in group and solo exhibitions in the U.S., Brazil and Spain and can be found in private and public collections in these countries. He has also been the recipient of printmaking fellowships from the Institute of Iberoamerican Culture (1976 and 1981) and the Spanish Academy in Rome (2002 Prix de Rome).

TIMO LEHTONEN was born in Helsinki in 1953 of mixed Finnish and Nigerian background. He lived in both countries as a child before moving to Cornwall, in southwest England, in 1963. After taking a degree in Fine Art at Sheffield Polytechnic (1976) he studied printmaking at the Royal College of Art (RCA), graduating in 1979. He has taught extensively in England at graduate and post-graduate level and is Senior Lecturer in Fine Art Printmaking at the University of Brighton, although he continues to live and work in London. In 1987 he undertook the RCA Printmaking Fellowship and in 1994 he was the Museum of London artist in residence. In 2001 he won the Printmaking Today Award at the (British) National Printmaking Exhibition. Timo Lehtonen has exhibited his work widely at venues including La Casa Elizaide in Barcelona and the Metropolitan Gallery in Cape Town (both 1999). Public and private collections with his work include Benchmark, Brown and Wood, Mappin Gallery Sheffield, Rank Xerox and the Victoria and Albert Museum London.

DAVID LILBURN is an artist, whose current work predominantly involves the graphic processes of drawing and printmaking.  He studied history and political science at Trinity College Dublin, (MA); lithography at the Scuole D’Arte, Urbino and art and design at Limerick School of Art and Design, (Dip. AD), where he has taught for a number of years.  His recent commissions include “In Medias Res”, for the James Joyce Ulyses Exhibition, National Library of Ireland, 2004; “The Courthouse Maps”, and “Frieze”, two commissions for Limerick County Council, 2002/2003; “Coastline”, Irish Pavilion, “Expo”, Hamburg, 2000; and “A map for City Hall”, Millennium Project 2000, Dublin Corporation.  His recent printmaking awards include First prize, ‘Impressions’, open print award, Galway, Ireland, 2004; “Michael Byrne Award for Printmakers”, administered by the Arts Council of Ireland, 2002;  “Mary Farl Powers Printmaking Award”, 2000, administered by the Arts Council of Ireland, 2001; and First prize, Second Limerick Mini-Print Exhibition, 2000. Lilburn has works in numerous public collections, including the Office of Public Works, Ireland; University of Limerick; National Self-Portrait Collection; National Collection of Artists Books, NCAD; National Collection of Contemporary Drawing, LCGA; Palazzo della Penna, Perugia; National University of Ireland, Cork; Dublin Corporation; AIB; Guinness; MIC, Limerick; Limerick Corporation; Shannon Development Company; National University of Ireland, Cork. Crawford Municipal Gallery, Ireland. Working with Jim Savage of Occasional Press, he is producing Berger on Drawing and anthology of writings on drawing by John Berger. At IMPACT 3 in Cape Town he presented “Urbs Antiqua Fuit Studisque Asperrima in Causa Belli - (Re)Presenting the City (in Print).

STEVE LOVETT was born in Auckland New Zealand, where he now lives and works. He majored in printmaking at the University of Auckland in New Zealand, studying with Professor Carole Shepheard. He has noted an initial attraction to the ‘Otherness’ of the print medium, to its technical challenges transferrals and displacements that he has acknowledged as having a certain parallel in personal experience. Lovett has developed this sometimes-quirky sense of printmaking being often-as-not somewhat marginalised into an examination in his own art making and his critical writing of a dramatisation of the problems presented by questions of the edge. Lovett has characterised the continuing attraction to printmaking as the medium to work in as providing a means to interrogate the apparent rootlessness of settler societies and his own personal history. Specialising in serigraph and digital work he is particularly interested in researching questions of origins, destinations and the nature of belonging both for the individual and for the printed image itself, critiquing the necessary fetishes of only certain locations, certain materials, processes and personalities. The continual negotiation of unfamiliar conceptual and mechanical terrain, the lot of every printmaker, has created for Steve Lovett the opportunity to assess the meanings we create to bind ourselves to the local, the familiar and foreign. Steve Lovett has taught at Manukau School of Visual Art in Auckland, New Zealand since 1996. Since 1998, he has lead the printmaking section of the school, developing a print program with the capacity to encourage both traditional atelier printmaking and more contemporary approaches to printmaking. Lovett has exhibited widely with work being held in public and private collections in New Zealand, Australia, the United States of America and India.

BEAUVAIS LYONS is a Professor of Art at the University of Tennessee in Knoxville in the United States since 1985 where he teaches printmaking. Lyons received his MFA degree from Arizona State University in 1983 and his BFA degree from the University of Wisconsin-Madison in 1980. See his web site (web.utk.edu/~blyons) for information on his projects as a fake curator through the Hokes Archives. His art involves fabricating artifacts that are then documented through color lithographs to create imaginary histories, archaeology, biography and science. Lyons’ one-person exhibitions have been presented in recent years at Vanderbilt University, Nashville, Tennessee, USA; Carnegie Mellon University, Pittsburgh, Pennsylvania, USA; Virginia Commonwealth University, Richmond, Virginia, USA; and Nowy Oficia Gallery, Gdansk, Poland. He has published articles about print theory and pedagogy in Contemporary Impressions and Printmaking Today, about art censorship in American Universities in the Art Journal and about his studio work in Archaeology and The Chronicle of Higher Education. His prints are in the collections of the Smithsonian Museum of American Art, Washington, DC; The Whitney Museum of American Art, New York, NY and the Philadelphia Museum of Art, Philadelphia. PA. In the United States he has been active with the Southern Graphics Council, serving as President, Editor of Graphic Impressions, and helping to organize their conferences in 1992 and 1995 in Knoxville and 2002 in New Orleans. In 2002 he received a Fulbright Fellowship to teach at the Fine Arts Academy in Poznañ, Poland, which helped to initiate this conference. He has been a presenter at IMPACT I in Bristol and IMPACT 3 in Cape Town. He has served as the chair of the IMPACT 4 Conference Steering Committee.

BARBARA MADSEN received her MFA degree from Drake University in Des Moines, Iowa. She is an Associate Professor at Mason Gross School of the Arts, Rutgers the State University of New Jersey. She has taught at St. Cloud State University, Minnesota; Minneapolis College of Art and Design, Minnesota; University of Wisconsin/Madison; Drake University, Des Moines, Iowa; Northern Illinois University, DeKalb, Illinois; Brigham Young University, Utah; Southern Utah State College, Cedar City, Utah. Her works have been included in the Northern Ireland Print '98, Belfast, Ireland; Graphica Creativa '96, Jyväskylä, Finland; 3rd International Printmaking Biennial, Belgrade, Yugoslavia; 11th International Printmaking Biennial, Ibiza, Spain; Prints from Frans Masereelcentrum, Aumônerie St. Jacques, Gordès, France Chapelle des Pénitents Blancs, Espace des Arts, Provence, France; Mind the Gap, International Print Portfolio, Bristol, England; Edinburgh Printmakers Gallery: Edinburgh, Scotland; The Second Bharat Bhavan International Biennial of Prints, India; 15th International Independent Exhibition of Prints: Kanagawa, Japan; 10th Biennial of Visual Arts 2002, Pancevo, Yugoslavia. She has exhibited in over 50 juried competitions in the United States, and she recently had one person exhibitions in the Czech Republic, and Belgrade, Yugoslavia. Her recent billboard series was first displayed in Newark, and Jersey City, New Jersey. Her billboards are extending the boundaries of printmaking to the realm of public art in three upcoming venues in the Washington D.C. area in March 2005. She has been a visiting artist at Te Wananga o Aotearoa, Auckland, New Zealand, the Plains Art Mueseum, Fargo, North Dakota; Sopocani Art Colony, Novi Pazar, Serbia; Frans Masereel Center, Kasterlee, Belgium; Glasgow Print Studio, Glasgow, Scotland; Edinburgh Printmaker's Workshop, Edinburgh, Scotland; Palacky University, Czech Republic; Minneapolis College of Art and Design, Minnesota; Purdue University, West Lafayette, Indiana; University of Oregon, Eugene; Dartmouth College, Hanover, New Hampshire.

LECH MAJEWSKI was born in 1947, in Olsztyn, Poland. He received his diploma in 1972 from the Academy of Fine Arts in Warsaw where he studied with Professor Henryk Tomaszewski. At present, he is a professor in the same academy and also acts as the President of the Organizing Committee of the International Poster Biennale in Warsaw. Lech works in poster and book design, as well as book illustration. He has presented one-person exhibitions of his work in Brazil, Switzerland, Mexico, Finland, Holland, the Czech Republic, France, Hungary and Poland. Lech has been represented in numerous international poster competitions, including The Polish Poster Biennale in Katowice; The International Poster Biennale in Warsaw; The International Poster Triennial in Toyama; The Poster Biennial in Colorado, USA; The Poster Biennale in Lahti, Finland; The International Poster Biennale in Helsinki; The International Poster Salon in Paris; and The Theatre Poster Biennale in Osnabruck, Germany.  He has lectured and conducted workshops in many universities throughout the world.

MARINA MANGUBI is a painter, printmaker and installation artist. She was born in Moscow in 1966 and grew up in Northern California. She graduated from University of California, Berkeley with a double major in Art and in Psychology (with an emphasis in Neuroscience) in 1988. Mangubi received her M.F.A. in Painting from the University of Michigan, Ann Arbor, School of Art and Design, in 1993. Currently, she is an Assistant Professor of Painting and Printmaking at the College of Wooster in Ohio. Her work has been exhibited nationally and internationally and is included in permanent collections in museums in Maine and in Oregon. Most recently, she was an artist fellow at the Camargo Foundation in Cassis, France.

HUGH MERRILL is a studio artist, community artist, educator, and writer. His artwork has been exhibited internationally and has been collected by major Museums such as the Museum of Modern Art, New York; the Harvard Art Museums; the Cranbrook Museum; the Minneapolis Museum of Art, and the Nelson Atkins Museum among others. His articles on the redefinition of art, printmaking and education have been published internationally. His public and community commissions have been facilitated internationally as well. Merrill was invited to be a visiting artist at the Kemper Museum of Art in Kansas City for the Christian Boltanski exhibition 1996. Working collaboratively they facilitated the creation of a city-wide archiving project “Our City Ourselves.” As visiting artist Merrill wrote and facilitated the community arts project “Portrait of Self”, exhibited at the Kemper Museum in conjunction with the Boltanski exhibition. The “Portrait of Self” archiving workbook and process has been used in collaboration with diverse communities nationally and internationally over the past 8 years. Merrill has produced community/public works in Nairobi Kenya, Dania Beach Florida, Dublin Ireland, Sydney Australia, Havana Cuba and Colorado Spring Colorado among other locations. Merrill is the executive director of Chameleon Arts and Youth Development and a professor teaching in the print-media program at the Kansas City Art Institute.  For more information, see his web site at: www.hughmerrill.com.

RAHMAN MOHAMED was born in Johor, Malaysia. He has a Bachelor of Arts [Honors] degree from Universiti Sains Malaysia. He earned his Master of Science degree in Communications Design from Pratt Institute in New York, USA and Master of Fine Art degree in Graphic Design from University of Wisconsin- Milwaukee, USA. Currently he is a senior lecturer in Graphic Design at the School of Arts, Universiti Sains Malaysia. An artist printmaker, Rahman works mainly in etching, collograph and woodcut. As an artist he participated in numerous art exhibitions in Malaysia, Thailand, Singapore, Bangladesh, France and United States of America. Besides printmaking, he also produces works in digital art and interactive multimedia.

KRZYSTOF MOLENDA was born in Polczyn-Zdroj, Poland in 1959. He completed has studies at the Academy of Fine Arts in Poznan in 1984. During that same year he also completed a three-month student exchange at the Koninklijke Academie voor Kunst en Voormgeving in Hertogenbosch, Holland. Since 1984 he has taught at the Academy of Fine Art in Poznan where he is currently an Associate Professor in the Relief Printing Studio. Molenda also teaches graphic design through the evening school in the academy. He has exhibited his work internationally, and has been a visiting artist at the Alberta College of Art, Calgary, Canada (1990); the University of Vancouver, University of Victoria, Canada (1990); The University of Tennessee (2003); and has participated in workshops and residencies in Canada, the Czech Republic, and Germany.  He is a member of the IMPACT 4 Conference Steering Committee.

DONNA MORAN is a professor and Chair of the Fine Arts Department at Pratt Institute, teaching undergraduate and graduate printmaking. She received her BA from CW Post College and her MFA from Pratt Institute. Her area of specialty in printmaking is silkscreen. Her silkscreens can be found in Waterbased Screenprinting, Stephen Hoskins (A & C Black 2001) and her monoprints in Experimental Printmaking (working title), Jackie Newhouse A & C Black, 2005). She has exhibited nationally and internationally including solo exhibitions in Spain, Peru, Australia, Chicago, New York and New Jersey. Her work is in the permanent collection of the New Jersey State Museum, the Noyes Museum and the New York Public Library. In 2005 she curated a drawing exhibition “Crossing Disciplines-Drawing” at Pratt Institute.

NEIL MORRIS is a Senior Lecturer and Head of Printmaking at Liverpool John Moores University, Liverpool Art School. Morris is a founder of the international event ‘Eight Days a Week: Liverpool/Cologne a Cultural Exchange’, an extensive ongoing program of artistic activities between the two sister cities. His artwork explores the relationships between a personal imagery and a sophisticated iconography and strives to maintain this pluralistic approach while making visual sense of a personal history. He has been involved in many international collaborative projects and has curated several exhibitions including ‘Graphic Authorship – Artists in Print’ (ISBN: 0-9542326-4-X); “Interface Two” at Galerie ‘K’, Liverpool Art School’; and “Malerei aus Liverpool” and “Von Zufalligen Linien und Rotlichen Flecken” (ISBN: 0-9547306-1-5).  Morris has exhibited extensively throughout Germany and has had recent exhibitions at Shanghai University and Orebro Castle, Sweden. His work is included in several publications, most recently Visible Signs: an Introduction to Semiotics, authored by David Crow, (ISBN: 2884790357).

MERIJEAN MORRISSEY completed her studies in painting and printmaking at the University of Illinois, also spending a year at Academie de la Grande Chaumiere, Paris, and post-graduate work as a Max Beckmann Fellow at the Brooklyn Museum in NYC and at the U. of Ill, Champaign/Urbana, USA. In 1971, she immigrated to Canada to teach painting and printmaking at the University of Ottawa. She is currently a full professor at Brock University where she teaches the Honours Studio as well as advanced painting and drawing. Morrissey’s own practice focuses on the use of poetic devices; parody and metaphor in particular are used to enhance meaning. She is interested in memory and the history of Western art as a representation and as a signifier of its imperialist past and present. She is a master printmaker, but painting and installation work play a major role in her work. Her practice is sensitive to feminist representation as well as the consistent use of pattern as a motif and compositional strategy. Currently she is at work on a large project entitled, “The Navigator.” Morrissey is represented in over 50 public and corporate collections.  She has also been the recipient of numerous grants and commissions. Morrissey was one of six international artists attending the 2003 Nagasawa Art Park Residency in Japan.

MICKEY MTIYA was born in the East London, South Africa suburb of Mdantsane in 1980. He entered the Fine Art program at Border Technikon’s School of Applied Art in 2000, majoring in Printmaking and receiving awards for excellence as a printmaker in two successive years. In 2003 he entered the degree program for which he was to present an exhibition of large-scale relief prints as well as a related research project entitled “An Artist’s Exploration Into the Causes of Teenage Prostitution.” During this time he participated in the Salted Lines Project coordinated by Kerry-Lynn Potgieter, and was invited to attend the Impact 3 Printmaking Conference in Cape Town, 2003. In 2004 he attended a residency at the Caversham Centre in KwaZulu-Natal, and participated in the Mind Travel international print exchange (coordinated by John Hitchcock). Mtiya is currently Artist in Residence at Border Technikon, a position which not only provides an excellent role-model to students but gives the artist further opportunities for growth in confidence and image-development. His presentation at IMPACT 4 is clearly a valuable opportunity.

HEATHER MUISE received her B.F.A. from the University of Windsor, Canada, and her M.F.A in studio art (printmaking) from the University of Tennessee. Her work has been exhibited in over 80 shows across four continents.  She has been teaching printmaking and foundations courses at Zayed University in the United Arab Emirates for the past five years where one of her main areas of research is creating bridges between Arab and Western artists and cultures through the printmaking media. She has recently moved to Greenville, North Carolina with her partner Matthew Egan. Her work has been exhibited across North America, in Europe, the Middle East and Australia.

STEPHEN MUMBERSON is a Reader in Fine Art Printmaking at Middlesex University, London. He is a member of the Council of the Royal Society of Painter-Printmakers and Vice-Chairman of the Printmakers Council, England. Mumberson was educated at Brighton University and the Royal College of Art, with a short period of study in Paris at the international Cite of Arts, completing his studies in 1981. He taught printmaking at various English colleges until being appointed lecturer at Middlesex University in 1987. Mumberson has been on British Council Print Workshops in Zambia, Zimbabwe and Germany. He has also conducted workshops for Pierre Press in France and Germany. He is a writer on printmaking and cartoon art. Mumberson has exhibited internationally, last year with a one-person show in Dresden, Germany. He works with both traditional and digital print methods.

CARLA NEIS is an artist-printmaker working in Switzerland. Born in Barcelona, Neis trained in biology and Fine Arts at different Universities and Art-Schools in Switzerland. Since 2000 she has been teaching printmaking at the School of Art in Bern. She has been initiator, organizer, and participant of numerous international exchange-projects including the Portfolio-Projects “East-West” and “Flying Carpet”. Her installation works and artist’s books have been shown internationally and are included in many public collections. Her art reflects her concerns about existential issues interlaced with accurate observation as well as deep sensitivity to the materials and the different media used. She states “For me printmaking through its social and communicative character is a step towards peacemaking.” While not attending the conference, she worked with Barbara Bandi and Susanne Glauser-Wasser in organizing the “Flying Carpet” exhibition.  She is pictured on the left.

MARTIN NOLL moved to Berlin to study fine art in 1980. This is the only career he ever had imagined pursuing. After one year of preparation he was admitted at the art academy, which offered only few, sought-after places for fine art students. He engaged in studying classical reproduction media (lithography, etching, relief printing) and started to investigate the new possibilities of digital image editing. As he considered classical reproduction to be too technical and the new digital media not yet well-engineered enough for his purposes, he turned to conceptional art during his later studies. In the mid-nineties he discovered transfer-print, which offered the opportunity to combine Senefelder’s classical lithograph technique with digital image editing.  Transfer-print (the lithograph technique) is a technique to reveal the very essence of the reproduction process: perceiving something and recording it in a particular form, from which identical copies can be drawn. For him, employing reproduction techniques in his artwork is the adequate response to a world, which is both defined by and saturated with reproduction. Today Noll continues to live and work as an independent artist in Berlin. His work is presented in numerous public and private galleries.

RICHARD NOYCE was born in 1944 in Chichester, Sussex. England. He was educated in Chichester and subsequently studied at Portsmouth School of Architecture and Leeds College of Art, graduating with honors in 1968. He worked for many years in various cities in the British Isles in Arts Centres, Galleries, and in Arts Promotion. He also taught art at High School for 13 years before moving to live in a small village in mid-Wales in 1999. Since 1985 he has written extensively on a wide range of subjects and artists for international visual arts magazines based in Britain and Europe. In addition he has curated exhibitions of international contemporary art and has written numerous pieces for exhibition catalogues. In addition he has written poetry and short stories. He has travelled widely, with a particular interest in Poland and Lithuania, and has lectured extensively on the arts. He was elected President of the Awards Jury for the 2003 Krakow International Print Triennale. His previous books are Contemporary Painting in Poland (1995) and Contemporary Graphic Art in Poland (1997) – both published by Craftsman House, Sydney, Australia and sold worldwide. In 1996 Contemporary Painting in Poland was awarded the AAASS/Orbis Prize for the best book in the English Language on any aspect of Polish Affairs. His forthcoming book is Printmaking at the Edge, due for publication by A&C Black (London) in early 2006. This book will address many of the themes and dilemmas facing art at the beginning of the 21st century through the medium of contemporary Printmaking, and will feature the work of 45 artists from 16 countries.

DENNIS OLSEN is the President of the Santa Reparata International School of Art in Florence, Italy and a Professor of Art at the University of Texas, San Antonio where he teaches drawing, printmaking and digital imaging. He received his MA and BA degrees from the University of California at Los Angeles. He is a past recipient of a Fulbright Fellowship to study printmaking in Italy and received a Partners of the Americas Fellowship to Peru. His work has been exhibited internationally, in one-person, group and competitive exhibitions. He has directed the University of Texas San Antionio Printmaking in Florence Program since 1982.

PATRICIA OLYNYK is engaged in interdisciplinary practices that include printmaking, sculpture, and installation, exploring the miniaturization and manipulation of the natural world. Her collage prints and interactive pieces investigate the interrelationships between human culture and the environment, values issues raised by genetics research, digital and biomedical imaging technologies as they relate to the creative process, and the intersection of visual representation, sound, and the written word. In doing so, her work inevitably explores the process of extricating oneself from a static position to rethink the nature of identity. Her work has been shown internationally in such exhibitions as “Transfigurations”, Galleria Grafica Tokio, Ginza, Tokyo; “Digital Printmaking Now”, Brooklyn Museum of Art; “Mois de l’Estampe”,Print Exposition,Galerie Michele Broutta, Paris; “Paper Road”,Museo del Corso, Rome; and the “L.A International Biennial Exhibition”, Toby Moss Gallery, Los Angeles.  Her work is included in collections of the Fogg Museum at Harvard University, the Hewlett Packard Headquarters in California, the Fairmont Hotel in Dallas, and the Life Sciences Institute at the University of Michigan in Ann Arbor. She is currently Associate Professor, and Director of the Penny W. Stamps Distinguished Visitors Program, and Director of the Roman J. Witt Visiting Faculty Program at the School of Art and Design, University of Michigan. She was a Monbusho Scholar and Tokyu Foundation Research Scholar in Japan for four years where she studied printmaking and papermaking. She completed her undergraduate work in Canada at the Alberta College of Art and Design, and received her MFA with Distinction from the California College of the Arts in California.

DENNIS O'NEIL is the Director of the Hand Print Workshop International, a non-profit studio for international exchange and collaboration through printmaking. The workshop sponsors innovative artist residencies that focus on developing short-run editions of silk screen prints based on the artist's conceptual ideas in collaboration with O'Neil. He has worked with over seventy artists at the workshop since 1987, including the years in Russia (1991-96), when O'Neil founded and operated the Moscow Studio, the only collaborative printmaking studio in Russia. Artists who have worked with Dennis O'Neil have included: R. Martin Abeyta, Yuri Avvakumov, Barton Lidice Benes, Alexander Brodsky, John Brown, Andrey Chezhin,Y. David Chung, William Christenberry, Carmon Collangelo, Steven Cushner, Alexander Djikia, Georgia Deal, George Fox, Olga Florensky, Sharon Keim, Vera Khlebnikova, Vitaly Komar & Alexander Melamid, Igor Makarevich, Pavel Makov, Tom Mullany, Paul Roth, Renée Stout and Leonid Tishkov. O'Neil writes, "The goals of our organization are twofold: to make innovative collaborative prints, and to share with the arts community the unique ideas and perspectives of the artists who make them. We accomplish this mission through the artist-in-residency program, which includes American as well as international artists; the student internship program, involving secondary and university level students; and public programs, including lectures, receptions and exhibitions that travel in the U.S. and abroad." Dennis O'Neil is an Associate Professor at the Corcoran College of Art + Design in Washington, DC.

KAREN OREMUS was born in Canada and has worked as an artist and educator internationally in countries such as Canada, the United States, Italy, Croatia, Bulgaria and the Middle East. She graduated with her MFA from the Tyler School of Art in Philadelphia, where she also taught printmaking for two years. Karen is now in her third year working as an Assistant Professor in the Department of Art and Design at Zayed University in The United Arab Emirates. She is responsible for the establishment and development of the Printmaking Department on the Abu Dhabi campus.

NEL PAK works with drawing, graphic art and what she refers to as “the Archive.” Of those three, drawing has been her primary focus, since in 1996 she began working in brush and ink on paper. She uses brushes of several thicknesses to draw lines in pure black ink, or mixing water and ink to a palette of grays. Formats of her drawings are monumental or as small as A6. The subject of Pak’s drawings are people, drawn as portraits or total length. Mostly some figures are linked to daily life objects. A recent drawing (2.00 x 9.60 meters) is “Necessary Objects”, which Pak started December 2003 during a stay in New York; it shows people confused by a muddle of objects. As a counterbalance to heavy crowded works there are drawings of figures who are watching a single object carefully, immersed in thoughts. Since her travel to Japan, where she participated in the 2002 Nagasawa Art Park artist in residence Japanese woodblock printing, carving and printing woodblocks has become part of Pak’s artwork. As she dedicated herself earlier to lithography and etching, woodblock printing appeared to suit best her way of drawing. Combining several blocks to one print can create images of a more monumental size. “The Archive” is a way of recycling earlier drawings, prints and written matter. Built into installations, Pak plays a game with past life, in order to conserve and metamorphose the old, the sad, the earnest, to a new and joyful form and content. Pak’s work has been exhibited in Rotterdam, Amsterdam, New York, Paris, Kobe (Japan) and elsewhere. In 2004 she participated in the Central Museum of Utrecht group show “Microkosmos”, devoted to monumental drawings. Pak lives in Utrecht and works in her studio in Zeist.

JAN PAMULA was born in 1944 in Spytkowice near O?wi?cim, Poland. In 1961, he graduated from Stanis?aw Wyspia?ski Secondary School in K?ty. From 1961-68 he studied painting and graphic art at the Academy of Fine Arts in Krakow, and in 1967 at the Ecole Nationale Superieure des Beaux Arts in Paris. He received a diploma in 1968 at the Atelier of Painting of professor Hanna Rudzka-Cybisowa. At present, he works as a professor of the Academy of Fine Arts in Krakow. He is active in the field of painting, graphic art and electronic media. Pamula has had over 50 individual exhibitions in Poland and abroad. He has taken part in several hundred collective, international exhibitions that were presented in Poland and abroad. He received numerous prizes on international and domestic exhibitions, in particular for his graphic artworks. In 2003, he was awarded the annual prize of Witold Wojtkiewicz ZPAP in Krakow for the painting exhibition "Geometrical Objects – A Retrospection" held at the Starmach Gallery. His works of art can be found in the collections of the National Museum in Warsaw and Krakow; Regional Museums in Szczecin, Che?m, and Lublin; Victoria and Albert Museum; Albertina in Vienna; Portland Art Museum in Oregon; Museum in Bochum; Mondrian Museum in Amersfoort. For many years, he has been a member of ZPAP and a member of "The Cracow Group." He has also acted several times as a custodian and member of jury for exhibitions and competitions.

CARINNA PARRAMAN is a Senior Research Fellow at the Centre for Fine Print Research, University of the West of England. Parraman's research interest spans art, science and education. Her interest in the science of art has developed through digital imaging and inkjet technologies, which has resulted in an investigation of artists’ methods for printing, the archival qualities of ink and paper and the investigation of screenprinted colour prints of the 1960's to inform inkjet colour printing methods. A proportion of this research is influenced by her work at the Prints and Drawings Department at Tate Britain, where Carinna is collaborating with the Department to catalogue the contemporary prints. She continues to work with Hewlett Packard on a number of research projects. She has presented papers at both science and art conferences including Color Imaging Conference USA, Institute of Physics, CADE (Computers and Art Design Education), Southern Graphics Council Conference USA, and IMPACT print conferences.

MARK PASCALE is the Associate Curator of Prints and Drawings at the Art Institute of Chicago where he has worked since 1989. In addition to his curatorial duties, Pascale also teaches studio art seminars at the School of the Art Institute of Chicago. He received his MFA degree in printmaking from Ohio State University in Columbus, Ohio (USA). His most recent curatorial project at The Art Institute of Chicago was “Beyond Convention. Artists' Ephemera: Printed, Inflatable, etc.” He has organized exhibitions on the work of Ellsworth Kelly, Jasper Johns, Joseph Beuys, and Edvard Munch, as well as exhibitions of prints from Landfall Press and Universal Limited Art Editions. In 1998 he curated “Artists' Lithographs: A Bicentennial Celebration” for the Art Institute of Chicago, During the past decade he has been active as a juror for national competitive print exhibitions in the United States, including the “77th Annual International Competition: Printmaking”, held in 2003 at The Print Center in Philadelphia, Pennsylvania. Three years ago he wrote an essay making a case for the value of such exhibitions titled "Why Bother?" in Graphic Impressions, The Southern Graphics Council Newsletter.

MIROSLAW PAWLOWSKI completed his studies at the Art Academy in Poznan in 1982. Pawlowski is the Dean of the Graphics Department and head of the screenprinting workshop at the Academy of Fine Arts, Poznan. He is a member of the IMPACT 4 Conference Steering Committee and coordinates the Polish National Student Biennial Exhibition. Since 1983, his solo exhibitions have been presented at over 40 prominent galleries and museums throughout Poland. Recent one-person exhibitions include Galeria Gleiss Lutz, Warsaw (2002); Galeria Dom Muz, w ramach MTG Kolor w Grafice, Toru? (2003); Galeria Grafiki, Biblioteka UZ, Zielona Góra (2004); Galeria Wizytuj?ca, Warszawa (2004); and Galeria ZPAP Lufcik, Warszawa (2004). Pawlowski’s work has been included in the “5th Triennial of Polish Graphics” – BWA Katowice (2003); “18th Biennial of Polish Posters”, BWA Katowice (2003); “Polish Grap