Artist Spotlight: Hammer Chen

In this week’s blog we caught up with Flourish 2024, Printmaking in Excellence Student Graduate award winner Hammer Chen and discussed her practice and printmaking in an interview we recently undertook, find out more about Chen’s work and what she had to say:

Hammer, many congratulations on winning the Student Graduate award for Flourish 2024. Can you tell us a bit about your winning piece, the inspiration behind it and how you developed the concept?

In the last 2 years, I continuously developed works centred around the theme of memory. Memory serves as a vehicle that triggers the imagination in my work.

Precious Fragments and The Light Collector represent my reimagining of past times and spaces. Through blending reality and imagination, I transform everyday moments into unique scenes that have never existed before and will never exist again. Instead of just recording what I see, I aim to capture the emotions and experiences as they are felt.

I took the original photo for “Precious Fragments” two years ago in Shanghai. It shows two sanitation workers on a public lawn. One was actively working, and the other was chatting with him and enjoying the setting sun. The sight of one worker flipping the grass with a shovel gave me the impression he was searching for treasure. This scene, combined with the golden sunlight, brought to mind images of light showering down like treasure from the sky.

The print Transition is part of a project I explored the ever-changing nature of memory. In this project I transitioned between video, etching and stop-motion animation. Initially, I capture ephemeral moments and the transitions within everyday life which captivate me on video or taking photos. Then I lift individual frames from the gathered material removing the impression of continuity and sense of movement. In the now-static images, light pierces dark to illuminate something fleeting. I transfer these individual frames onto copper using historic photogravure techniques before reanimating them into a stop-motion sequence.

 

What techniques and materials did you use in your submission?

The techniques of my prints are copper plate photogravure, etching and chine collé.

I began focusing on using photos as the primary basis for my prints starting in October 2022. To better express the theme of memory, I experimented with a range of

photographic printmaking techniques. What I want is not just to replicate a photo, but to continue modifying it after transferring it to the plate. I see the process of distorting photos through the printmaking process as similar to the process of memory construction. This ‘modifiable’ aspect is crucial. Copper photogravure meets all my needs. It offers me the most possibilities for combining traditional etching techniques with digital imagery.

Were there any challenges you faced during the process?

While exploring the photographic printmaking process, I discovered that very few people in the UK still practice the Copper Photogravure technique, and online resources are limited. I had to teach myself by consulting various references. The most thorough guide I found was the book Copper Plate Photogravure: Demystifying the Process (2003). However, some details are still missing, such as how long the copper plate should be etched in acids of different concentrations. As a result, it took me over months to figure out how to produce a near-perfect photogravure print.

 Your work has a unique style. How would you describe it in 3 words?

Dreamlike, cinematic and nostalgia.

How has your style evolved over time?

My style has evolved from focusing primarily on drawings and sketches to incorporating photography as a foundational element in my work. To me, taking photos is a way to resist forgetting. One day, I realised I had over 70,000 photos on my phone. These photos document my experiences, interests, captivating moments, and represent my personal observations. So, I began to consider using these photos directly in my work. It enables me to create images that are both surreal and cinematic.

 Are there any particular artists or movements that have influenced your work?

Hong Kong film director Kar Wai Wong’s movies have greatly influenced me. Each frame of his films brims with narrative, evoking nostalgia and a disordered sense of time and space. He frequently reduced the frames per second to make scenes appear less fluid, depicting time as both fragmented and timeless. I often seek to capture this distinct atmosphere in my own work.

What draws you to printmaking as a medium and what do you find most rewarding about it? Are there aspects of printmaking that you find particularly challenging?

The first time I tried etching, I felt a strong connection to the medium. It allowed me to express stories and emotions that I couldn’t convey through other mediums.

The process of printmaking gives me a sense of grounding and the connection with myself. I really enjoy the state I’m in while creating prints.

If I try to deliberately make my printmaking works very contemporary or deeply conceptual, I find it quite challenging.

 

Can you walk us through your typical creative process?

I am a visual artist who draws inspiration from captivating scenes and fleeting moments in everyday life. My creative process is exploratory, helping me understand what truly interests me.

Normally I don’t start with a fixed concept or an ambitious plan because I find they can restrict my observations and decisions. Instead, I keep an open approach, allowing the narratives within my images to unfold organically. This flexibility often leads to delightful surprises, which I embrace during my creative journey.

 

How do you stay inspired and motivated in your artistic practice and How do you handle creative blocks?

Creating art is about conveying what resonates with me, and by fully immersing myself in life, I find a rich source of materials and inspiration. I’m captivated by the creative process far more than the end results.

I’m still exploring routines that suit me best; currently, my routine involves spending as much time as possible in the studio.

When I encounter creative blocks, I handle them by shifting my focus to different tasks or experimenting with new ideas that surface. I think of inspiration as similar to waves—it ebbs and flows. During periods when inspiration is low, I find it effective to simply sit back and be patient, much like sitting quietly on a beach and waiting for the tide to return. This approach helps me maintain my creative momentum without forcing the process.

What role does storytelling play in your work?

Many of my works attempt to tell an open, evolving story within a static image. I am repeatedly drawn to themes such as light in the dark, memory, travel, and the potential interaction of characters. The images resemble scenes from a stage set or a film. The settings are open to interpretation and charged with tension or expectation, creating anticipation for what is about to happen.

 How do you see your work evolving in the future?

In the future, I want to create more dynamic pieces and explore the integration of printmaking with animation and interactive installations.

Are there any tips or lessons you’ve learned that you’d like to share as advice to aspiring printmakers?

As an emerging artist, I can only share experiences that have been helpful to me. In my early stages of printmaking, I dedicated myself to learning and mastering various techniques. To me, techniques are like a language of expression; mastering this language opened a door for my ideas and stories to flow freely.

How has participating in the Flourish 2024 exhibition impacted your career and artistic practice?

The Flourish 2024 exhibition is a crucial opportunity for me to engage with other accomplished printmaking artists. Most of them are more experienced artists, and many have spent years developing powerful and impactful series of works. Their art has been a great source of inspiration for me. It is also a fantastic chance to showcase my work to a broader audience and share the stories behind my works with more people.

Chen’s cinematic printmaking combines brilliant technique and a fantastic artistic eye. Recognising promising talent in the field of printmaking, the Recent Graduate/Student Award winner, Hammer Chen  will receive a free course, £30 worth of materials from WYPW, and one year of membership with access to workshops and resources

Flourish will be showcasing at the Huddersfield WYPW gallery until 29th June. It will then go on tour at Hot Bed Press in Salford and conclude at 20:21 Gallery in North Lincolnshire in the Autumn.

You can find out more about Ian’s submissions for Flourish 2024 here.

For more information on all the shortlisted artists and work take a look at our dedicated Flourish 2024 page here.