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Kirsten Baskett is a contemporary artist based in London. Receiving an MA in printmaking from Camberwell College in 2012


She engages with digital technology based on an understanding of traditional methods rather than regarding them as an out-dated medium



2019 Woolwich Contemporary Print Fair

2019 RA Summer Exhibition

2019 Goodwood Chichester

2018 Woolwich Contemporary Print Fair

2018 Talented Art Fair, London

2017 Woolwich Contemporary Print Fair

2017 Wells Art Contemporary, Group Show

2017  Nude Tin Gallery.

2017  D Contemporary Gallery, Group Show, Mayfair, London

2017  Flux, Chelsea

2017  RA Summer Exhibition

2017 Judge Member of 'It's Art call

2016  'It's Art Call' Solo Show Winner, The Cult House, D Contemporary   Gallery, Mayfair, London

2016   Curio: Sites of Wonder, Studio 3, Canterbury

2016   Tomorrow's Child, Houses of Parliament, Westminster 6-10 June

2016   45 Park Lane - Mayfair London 

2015   The Other Art Fair- London    

2015   A. Nonymous, London

2015   Shortlisted Beers Contemporary

2015   Shortlisted Aesthetica

2014   Wells Art Contemporary- Winner

2014   Print Jam- Runner up

2014   The Scars Are Not Only Skin Deep, The Cob Gallery, London     

2014   Loop, Bankside Gallery, London

2014   Bainbridge, Embassy Tea Rooms, London

2014   AAF Hampstead 

2014   AAF Battersea

2013   Solo Exhibition current- Lilford Gallery

2013   Pushing Print Festival, The Pie Factory, Margate

2013   Loop, The Gallery, Redchurch Street, London

2013   Freedom of the Press, Old Naval College, Greenwich

2013   Works on Paper, The Brick Lane Gallery, London

2013   Hot off the Press, Curwen Gallery, Margate

2012   Pushing Print Festival, The Pie Factory, Margate

2012   Printmaking Now, Tokyo University Gallery, Japan

2011   Protest Prints, Camberwell Art College, London


I am fascinated by the imprint or ‘emotional charge’ which prolonged and

close human interaction seems to leave on an object.

We generally see this simply as patina or wear so, through multiple processes, I strive to tease it out, separate it from the object itself and distil it. Only then can I preserve it for closer study.


I begin by constructing paper sculptures of the object using materials which themselves have had a close human interaction and hopefully carry something of that ‘emotional charge’. These can include closely scrutinised engineer’s drawings or dress patterns, a writers well-thumbed draft carrying all their notes in the margins or even a lovingly curated child’s stamp collection. Highly personal items like letters or photographs can also be a source of ‘ready charged’ raw material.

Once completed, the paper sculptures are very fragile and delicate structures so I cast them in clear resin.


This freezes them, suspended and floating; rather like museum exhibits or preserved scientific specimens ready for closer study.


I then photograph the sculptures and digitally manipulate the images before outputting to film. This enables me to expose a light-sensitive etching plate (photo-etching) to create an intaglio print on extremely fine, hand-made Japanese paper.


The final etching is also very delicate and fragile so, as the final step, I encase and preserve the etching in clear resin so that the print, like my sculptures, becomes frozen in time and permanently available to view.


I love combining modern digital techniques, traditional etching and sculpture in order to push the boundaries of printmaking.

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