Professor Paul Coldwell is a practising artist and researcher. His art practice includes prints, book works, sculptures and installations. He has exhibited widely, and his work is included in numerous public collections, including Tate, Victoria & Albert Museum (V&A), the British Museum, the Arts Council of England and the Musee d’art et d’histoire, Geneva. He was selected for numerous International Print Exhibitions including, the Ljubljana Print Biennial, the International Print Triennial, Krakow and the Northern Print Biennial. In 2013 the Universities of Canterbury and Greenwich presented a survey exhibition of his prints, ‘A Layered Practice Graphic Work 1993-2012’. In the same year, he also had a solo exhibition at the Scott Polar Research Institute entitled Re-Imagining Scott which included prints, postcards, sculptures and glassworks. Material Things at Gallery II, University of Bradford focused on the relationship between his sculptures and prints over a period of fifteen years. Small Journeys was Coldwell’s first solo exhibition at Long & Ryle Gallery, London. Most Recently he had a solo exhibition at Gallery 25, Perth, Australia and exhibited new work at both the Sigmund Freud Museum Vienna and the Freud Museum London when he was also the subject of a film by Susan Steinberg entitled The Hope. In 2018 his work was included in ReConciliation at the History Museum Sarajevo for which he made newly commissioned pieces shown alongside earlier work which imaged the siege of Sarajevo. In the same year, he was commissioned by the Swiss Graphic Society to produce an edition for their 100th Anniversary.
He has curated a number of exhibitions, including Digital Responses, V&A; Morandi’s Legacy; Influences on British Art at the Estorick Collection, London, (accompanied by a book published by Philip Wilson) and The artists Folio at Cartwright Hall, Bradford (2014). He published a major survey of print-making, Printmaking: a Contemporary Perspective (Black Dog Publishers-2010) and is a regular contributor to a number of publications including, Art in Print, Printmaking Today and Print Quarterly where he has been on the editorial board since 2009. In 2011 he was chairman of the selection jury for the Imprint International Graphic Art Triennial in Warsaw, Poland. He was Keynote Speaker at Impact 7 International Printmaking Conference, Melbourne, Australia 2011, SNAP3 in Germany in 2015 and at Art & Reconciliation in Sarajevo in 2018. In 2013 he was commissioned to write the catalogue essay for the exhibition of Rego and Daumier at the Casa das Historias, Museu Paula Rego and completed a catalogue essay on Henry Moore’s Elephant Skull etchings for the exhibition at the Geneva Museum of Art and History.
Over the last six years, he has conducted a public conversation at University of the Arts London with prominent printmakers including Christiane Baumgartner, Thomas Kilpper & Jim Dine. Now supported by Print Quarterly since 2016 the recent participants have been Christopher Le Brun and William Kentridge.
He is a member of the editorial board of the journal Print Quarterly and on the advisory board for Art in Print and writes regularly for both.
He is currently researching at the Sir John Soane’s Museum which will result in a new body of work to be shown there in 2019 along with a solo exhibition for Long & Ryle.
My research is focused on a practice-based approach and located within fine art. Through printmaking, sculpture, installation and writing, I explore issues around absence and loss, with ideas crossing between media. A recurring question for me is how new technologies impact on previous processes, in particular within printmaking; and how digital technologies can inform and rejuvenate older technologies, such as etching and screenprint. This fits into my broader commitment to printmaking, both as a practitioner but also through raising awareness of the value and quality of print over and beyond its role as a reproducible media.