Artist Spotlight: Sylvia Waltering Flourish 2025 Excellence in Printmaking Shortlisted Artist

We recently caught up with Flourish 2025, Printmaking in Excellence shortlisted artist, Sylvia Waltering and asked her more about her work and practice.

Have a little read to see what she had to say:

Congratulations on being shortlisted! How did it feel to hear the news?

It was really exciting to hear about being shortlisted for the Flourish Award. I have been been an artist for over 25 years, but my background is in Photography and Book Arts and I only did a little bit of print making here and there over the years, until I attended a Mokuhanga (Japanese Woodblock) residency at Mi-Lab in Japan in 2022. Since then Mokuhanga has been an key part of my practice, but I still feel strange calling myself a printmaker and it was extra special to have my work recognised in this way.

Tell us about the work you submitted for Flourish 2025 and What inspired the piece? How did the idea or concept develop?

Winter Swimming was inspired by the way the world often looks on a December or January morning when I go cold water swimming at a local lake with a friend. It’s one of my favourite things to do and helps to get through the darker months. Especially on a foggy winter morning where it feels like it’ll never get quite light, there is a beautiful gradation from dark blue of the water close to you to a pale bluish sky and it’s impossible to tell where the water end and the sky starts. It’s quite magical and I tried to capture some of that.
Shirahama Pine #1 & #2 came from a very different place—literally. The prints are based on photographs I took while walking the Kumano Kodo, an ancient pilgrimage route in Japan with a friend in 2024. After days of hiking through cedar-covered hills, we arrived at the white beach of Shirahama.where the municipal landscaping included some individual pine trees planted along the manmade promenade. They seemed a bit out of place, between the children’s playground, the convenience store and the clean stone paving, maybe a bit like me as an outsider in Japan. Trees are deeply significant in both Japanese and European culture, religion and traditions. I find that nature always offers a way to connect to wherever you find yourself in the world and offers some sense of belonging

Winter Swimming, Mokuhanga, approx. 350mm x 450mm, 2023

Shirahama Pine #1, Mokuhanga, 470mm x 615mm, 2024

Shirahama Pine #2, Mokuhanga, 470mm x 615mm, 2024

What techniques and materials did you use in your submission?

All the work I submitted was created using Mokuhanga. I love how hands-on the whole process is—from carving the blocks to printing with a handheld baren. There’s no press involved, so it’s a very physical and tactile method, almost like a conversation between yourself and the materials. It’s not an easy technique and there’s always something to learn, but that’s part of what makes it so exciting and rewarding. There are so many aspects that impact the final outcome from the weather, to the paper and pigments you use and your state of mind on the day of printing.

Were there any creative or technical challenges along the way? One particular technical challenge I had was the paper I used for printing Shirahama Pine #1 & #2. The prints were originally made for an international group exhibition in Japan, where all work for the exhibition was made using Narushima Washi. I received ten sheets to work with. As Mokuhanga is traditionally done using water-based pigments the paper used for printing generally needs to be sized to stop the ink from bleeding. The Narushima Washi I received came in it’s natural unsized form. I’d attended a brief sizing demonstration on my Japan travels, but having to do it in my studio by myself and with a limited paper supply made it quite a scary prospect. With the moral support of a friend and using my notes from the demonstration it all worked out fine though.The thought of it was definitely scarier than the actual sizing itself. The good thing is that knowing I can do it has opened up a whole world of wonderful papers to use.

Your work has a distinctive style, how would you describe it?

Has your style changed or evolved over time? I think my style is continually evolving. The themes I’m drawn to stay the same, but I like play, experimentation and trying things out – some things stick, others don’t. I’m currently interested in finding ways to bring the more ‘photographic’ approach (working from bitmapped photographs) together with the more abstract elements of some of my Mokuhanga work. I have have an image in my head of what i think that will look like, but I also know that the processes and materials will shape it in their own way.

Are there any artists or movements that influence you? – Since my work often oscillates between representation and abstraction, I draw inspiration from across many disciplines and from may artists—photography, painting, sculpture, as well as printmaking. I’m especially fascinated by how contemporary artists are pushing the boundaries of Mokuhanga. The community is relatively small but incredibly generous and creative. If I had to name a few artists who’ve particularly shaped how I think about photographic imagery in woodblock, I’d mention Katsutoshi Yuasa, Franz Gertsch, and Christiane Baumgartner.

What draws you to printmaking as a medium?

The physicality of printmaking is what is the most appealing to me. Ever since I was little I have liked making things, doing things with my hands. I also love that the process itself feels meaningful, not just the finished piece.

Are there any aspects you find particularly challenging?

Time is one of my biggest challenges. I work nearly full-time as a lecturer, and while carving can be squeezed into spare hours, printing really needs a solid stretch of uninterrupted time. So, most of my work gets done during longer breaks or on residencies. Of course the technique itself is full of challenges, as anybody who has ever tried it, will know, but those are challenges I enjoy.

Can you walk us through your creative process?

It usually starts with a walk somewhere, looking, observing, photographing and slowly an idea for something new emerges.

How do you develop your ideas from concept to completion? It really depends. Sometimes I have a clear idea and focus on how best to bring it to life technically. Other times, the process itself leads me somewhere unexpected, and that can be just as exciting.

What themes or stories do you explore in your work?

Place is at the heart of everything I do—whether it’s somewhere close to home or far away, urban or rural. I’m interested in how we connect to places, not just intellectually, but physically and emotionally—through what we see, hear, feel, smell. And I think the tactile nature of Mokuhanga complements that beautifully. Often, my work oscillates between abstraction and recognisable landscapes, creating space to reflect on how we experience the environment. For me, it’s a constant exchange between the body, the materials, and the world around us.

How do you stay inspired and motivated in your practice?

I’m not sure, other than putting on my apron as soon as I walk into my studio.

How do you navigate creative blocks?

Over time I have learned not to force it. They come and go and are just part of the process. Don’t get me wrong, I still get frustrated, but I try to worry less. Also, staying curious, looking at other artists, visiting exhibitions and reading around your subject means that something eventually will inspire you. And walking—walking always helps me think. A good walk has solved many a problem.

What advice would you give to other or emerging printmakers?

If you enjoy what you are doing, then keep going! That’s really the most important thing. Everything takes effort and time and if you do it over and over, you get better at it.

Finally, how has being shortlisted for Flourish 2025 impacted your practice so far?

I have connected with other printmakers more. As I said, I’m still quite new to printmaking and it’s a whole new community to get to know. That’s really exciting, but also a little scary after so many years of developing connections in other fields.

Readers can view Sylvia’s work at the Flourish exhibition which will be showcasing at the Huddersfield WYPW gallery until September 21st. It will then go on tour across various northern galleries.

You can find out more about Sylvia’s submissions for Flourish 2025 here.

For more information on all the shortlisted artists and work take a look at our dedicated Flourish 2025 page here.

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