Royal College of Art - Print

Introducing the wonderful Laurel @laurel00lxq Laurel Leng is a visual artist working across photography, painting, and printmaking. Her practice explores the interaction between perceptions of time, space, and memory, examining how personal and collective memories shift, fragment, and re- emerge over time. She is particularly interested in the idea of the “room” as a site where multiple temporal layers coexist. Within her work, memory does not unfold through a linear narrative; instead, it operates as a spatial condition in which fragments of the past continuously overlap, dissolve, and resurface. Through layered imagery and dislocated spatial structures, she seeks to create viewing experiences that feel both familiar and subtly unsettling, allowing viewers to sense memory as something constantly moving between time and space. Her practice focuses on memory, identity, and changing perceptions of interior space. She approaches the room as a space where different temporalities intersect, enabling traces of past experiences to emerge and interact within the present. Printmaking forms the core of her process, often combined with etching, screen printing, and collage to construct layered image structures. Through these methods, she aims to produce spatial relationships that remain unstable, shifting, and continuously in flux.

Introducing @0creeprr0 Creeprr is a printmaking artist currently based in London. Her practice focuses on self-exploration and philosophical inquiry, using print as a way to examine identity, existence, and the tensions between belonging and estrangement. Rather than depicting fixed answers, her works raise open-ended questions—about meaning, reality, and survival—offering viewers a sense of companionship in uncertainty. She sees art as a universal language, one that reshapes both personal experience and shared understanding. Artwork Details: "Genesis",woodcut print, 40x60cm "CR-H", woodcut print, 40x40cm "Fable", woodcut print, 50x60cm CR-tarot card, original woodcut print "Unfinished meal-1", woodcut print, 40x50cm

Imprint Artist of the Year | Rudolph Taylor 💫 Introducing @rcaprint graduate, Rudolph Taylor, who will be the inaugural Imprint Artist of the Year, presenting a solo showcase at our autumn edition 29 October - 01 November Rudolph Taylor, who was awarded the WCPF (now Imprint) Artist Award in 2025, is an artist and printmaker whose work expands on how classical representation can be used to show an increasingly global and multicultural world. Through the use of archives and his skills as a collaborative printmaker, Rudolph uses collage and drawing to reinterpret classical western art to reflect the world today. Mixing up bodies with clothing and objects from across the world and centuries he depicts the complexity of being multiracial, while also creating a space in which these individuals can exist in the fullness of their multifaceted identities. Born and raised in Chicago, IL, USA, Rudolph would go on to receive his BFA in Studio Arts from @syracuseu (2019), where he concentrated in printmaking and received the Bruce Manwaring Printmakers Award. It was there he started collaborating with artist to assist in the making of new unique prints of their work. He then went on to complete the Tamarind Printer Training program in 2022, and soon after worked as a collaborative printmaker at Paulson Fontaine Press in Berkeley, CA. While in Berkeley he began teaching lithography workshops at the @kalaartinstitute and taught print classes at the @cacollegeofarts . He went on to complete his MA in Print at the Royal College of Art in 2025 and now works as a print tutor at the @royalacademyschools We can’t wait to share more information and behind the scenes access as Rudolph creates work for our inaugural Fair. Watch this space 💫💫

Introducing @agarwalharshita30 from the MA Print cohort 25-26✨ Harshita Agarwal (b. 2001, India) is a visual artist whose practice explores the ever-changing relationship between humans and their geographic environments. As a process-based artist, her work often begins with site-based explorations, where experiments with the materiality of the land inform methods such as printmaking, mark-making, image-making, and mapping. Her recent explorations focus on the dialogue between landscapes in India and London, examining exchanges shaped by colonial histories and how natural and built structures negotiate, inhabit, and transform shared spaces. Artwork details: *Image 2-3* Rooted in-between, Etching and Aquatint on Somerset Velvet Paper, 2026 *Image 4* Untitled(detail), Image-Transfer on Plywood, 2026 📸 @33thx_a lot

Next up is @nnamays Anna Mays is an Irish artist from Dublin, currently based in London. The human body is at the centre of Anna’s practice. She is interested in the relationship that we have with our bodies in the west and how that is being shaped by science, technology and medicine. Anna is currently working with scans; both medical and flatbed. This includes a head to pelvis CT scan of her own body that she re-materialises into physically printed material that occupies space. She is interested in creating work that is both flat and three-dimensional, a relationship that corresponds both to the language of print and how we process information. Image Details: 1. Studio: Laser-cut and etched steel, digital print. 3. WIP/ test presentation Digital print, oil and graphite on muslin. 4. ‘Torso’ 28.08.25 Etched steel 71 x 57 cm 5. WIP Screenprint on steel 📸 @33thx_a lot

Next up we have the wonderful @dincreates Din Brandt is a mixed media visual artist from Coventry, working across printmaking, assemblage, and craft-based processes. A graduate of Central Saint Martins (BA Product & Industrial Design) and the RCA Graduate Diploma, Brandt’s practice creates tactile, layered works using found and made objects. Drawn to the cute and curious, she incorporates reclaimed materials, exploring how ‘the cute’ can operate as a playful yet critical tool to engage themes of memory, time, and the strangeness of existing within a vast universe. Image 1. ‘Vessels (Deer Under Tree)’ (2025), 3D resin prints in Victorian ceramics. Image 2. ‘For As Long As I Remember You’ (2026), Vintage lockets and cyanotypes with reclaimed gem material on beech wood. Image 3. ‘There Your Heart Will Be Also’ (2026), Digital collage print, in painted wood clay frame with reclaimed gem material. ‘The Half Blind Deer Is Very Friendly’ (2025), Beaded cross stitch in antique silver frame. ‘Your Soul Passed Me By’ (2025), Embossed aluminium. Image 4. ‘Dear God, It’s Me Again’ (2026), Paper mache, mixed media assemblage.

Meet @dahlia_yizhu from the current batch of MA Print students✨ Yizhu Wang (EttJb. 2002), from China, creates illustrations, publications, and installations. Her dual background in print and spatial design has led her to habitually observe, contemplate, and reflect on the world around her. Her work focuses on everyday objects, drifting slowly through space and experience. She depicts the world with slightly clumsy brushstrokes, measuring the distance between memory and reality through images. Yizhu’s creations unfold from the smallest details, passionately capturing those ineffable, twisted yet precious emotions. She favours playful expression, creating tiny ripples in the gaps of culture, allowing the viewer to pause briefly and smile knowingly. Artwork details Image 3, 4:“IF Stop!’, 3-Color Risograph Zine, 148*210 mm, 24p,2025 5:‘Cheers’, Illustration Zine, 148*210 mm, 32p, 2024 6:‘London Landscape伦敦风景 Vol. 1’Newspaper, 289*380mm, 4p, 2026

Meet @wangge1209 from the MA Print cohort 25-26! Wang Ge is a contemporary painter whose practice examines identity as a mutable and contingent condition, shaped by the interrelations of memory, affect, and perception. Working between figuration and the surreal, she constructs psychologically inflected spaces in which the body is neither fixed nor fully stable, but subject to subtle processes of dissolution and reconfiguration. In her paintings, gender does not operate as a declared theme; instead, it becomes unsettled through painterly strategies that privilege atmosphere over definition. Layered, non-naturalistic colour and gestural brushwork function as carriers of emotional intensity rather than descriptive tools, while figures are often obscured, fragmented, or absorbed into their surroundings. Through this destabilisation of visual certainty, Wang foregrounds ambiguity as a critical and generative condition one that invites slower forms of looking and opens the image to projection, resonance, and interpretative multiplicity.

Introducing Haseebah @haseebah_prints Ali is an artist and arts educator based in the UK. Haseebah’s practice is a socially engaged one informed by her upbringing and faith as a British-Azad Kashmiri, Muslim woman. Her practice spans across illustration, photography, sculpture, textiles with a specialised focus on printmaking. Her current processes take a deep dive into ornamental pattern and personal archival imagery surrounding corner shops and ‘bossman’ and how both act as an anchor for community and civic space. Haseebah’s MA has been made possible by RCA’s President and Vice Chancellor’s scholarship and @azizfndn Artwork Details: 1- ‘Happy Shoppa’ Hardground and aquatint etching with relief print 2- Untitled Softground and aquatint etching 3- Untitled Photo etching

Meet Olivia Ouyang @memblancat Ouyang’s practice centres on speculative and darkly fantastical visual worlds, drawing on science fiction and contemporary myth to explore violence, transformation, and hybrid forms. Her work is characterised by a fusion of the organic and the monstrous, where bodies mutate, merge, or exceed human boundaries.Influenced by dark fantasy aesthetics and modern myth-making, Ouyang is interested in how imagined creatures can function as vessels for emotional intensity, latent aggression, and survival instincts. Rather than depicting disturb materials as spectacle, she approaches it as a visual language, a way to examine power, vulnerability, and the instability of identity. Through illustration practices, Ouyang constructs atmospheres that hover between the futuristic and the archaic, the combination and the catastrophic. Her work often situates the viewer within ambiguous worlds shaped by collapse, adaptation, and incarnation, where transformation of different figures is not an exception but a constant condition. 📸 @33thx_alot

Next up is the ever so wonderful Alma Stritt @almatross.98 Stritt’s work takes on the form of self-published and collaborative image catalogues, books, sticker campaigns and temporary image displays/installations. She has been studying at the Royal College of Art since 2024 (Graduate Diploma 2024, MA PRINT 2025-26). Raised between Germany and Britain (b.1998), Stritt’s practice is located in the exploration of mundane transition spaces, temporary structures and public ‘in-between’ spaces, such as waiting rooms and bus stops. Her work concerns the accumulation of debris, and the unique pressures of life at the margins of habitable space. Within this research elusive boundaries between private and public domains are referred to as ‘tide-lines.’ Enquiries within this creative practice unfold alongside biological and ecological investigations initiated by a prior study (Bsc) in Environmental Science (2018-2021, Newcastle University). Artwork in order: 1- ‘SHE SAID: [SHE SAID]’ collaboration with Isabella Lozano Flumignan (@isabellalozanoart ) 96 page A5 combined landscape/portrait format hardcover book 2- ‘The kind of quietness that descends while you are awaiting visitors’ studio floor installation 3- 15 x 30 cm sketchbook spread 4- ‘Image Block House’ stacks of 10.8 x 15.2 cm photographs, cardboard and adhesives

Meet @beautifullywastedspace ✨ Beckie Billingham is an artist, illustrator, printmaker, and curator from Derbyshire, UK, currently based in London. Billingham’s practice engages with ideas of folklore, land, ancestry, witchcraft, and magic, using these concepts as a lens to think about class and gender. Much of her work looks at the ways in which folklore and folk traditions, which allowed ancestors to connect with each other and the earth, have historically been transmuted and demonised. In her work Billingham aims to give power back to these traditions and the ancestors that practiced them. Currently studying for her MA in Print supported by The Leverhulme Arts Scholarship, Billingham’s current work is exploring ideas related to stone circles and the petrification myths.