Christiana Ntetsika in Conversation with Woolwich Contemporary Print Fair Director, Lizzie Glendinning
Lizzie Glendinning standing in front of her latest project, Woolwich Contemporary Studio.
Sotheby’s Institute of Art alumna, Christiana Ntetsika interviews Lizzie Glendinning, Director of Woolwich Contemporary Print Fair (hereafter referred to as WCPF) and Brocket Gallery in London.
A few years ago, I had the pleasure of working with Lizzie Glendinning and her co-founder and husband, Jack Bullen, through their volunteer program for the WCPF of 2018. Even though the fair is relatively recent compared to others, they managed to reach a different audience and make it one of the most prominent print fairs in the U.K. Two years on, I have reconnected with Lizzie to discuss how she began London’s only fair solely dedicated to prints, this year’s line-up, how the current pandemic has affected her business, and the way she has shifted to The Online Edition this year.
WCPF’s goal is to showcase the best in international printmaking. They possess a unique fair structure, with 50% hired booths for specialist galleries and 50% individual artists that are selected through an open call from a panel of experts. In its 5th year, WCPF goes online in what is to be called The Online Edition.
Woolwich Contemporary Print Fair: The Online Edition runs 11 November – 13 December, 2020.
Graphic designed by Lucy J. Toms.
Christiana Ntetsika: Woolwich Contemporary Print Fair counts 5 years already! How did it start? What influenced you to begin the first contemporary print fair in the U.K.?
Lizzie Glendinning: We used to host a night at our London gallery called New Collectors Evening. It was a chance for budding art collectors to join us for a drink and we would use original prints from our gallery portfolio to demonstrate how print can be a fantastic medium to establish an art collection. Not only is it often more financially accessible due to the nature of editions and multiples, but it also provides a platform to learn about a number of artistic techniques, experiment with taste, style and artists, and offers a unique opportunity to introduce bigger names into your collection.
In 2016, a client invited us down to the Royal Arsenal to bring a fine art experience to the development they were working on. We love the Venice Biennale and the incredible regeneration that contemporary art has had within Venice’s arsenal, and couldn’t understand why no one had thought of this for the UK’s own historic arsenal. It is such a spectacular site. These huge great Georgian warehouses steeped in architectural and industrial history. We installed a sculptural piece and video installation in the former Canon Carriage Factory. It was fairly controversial because of the hanging phalluses, but people remembered us and we were invited back.
Sameuele Sinibaldi, Arc of Knowledge (2016) - courtesy of Brocket Gallery London.
We knew when we returned, we would have to be more inclusive, accessible and more commercially viable. The sheer scale of the buildings and getting them ready for exhibitions would turn out to be costly. We decided to expand our new collector offering with original prints. We contacted printmakers we admired, ran a small kick-starter campaign, and set up the inaugural WCPF with no budget, in only two months. We have expanded rapidly and learnt huge amounts along this incredible, and extremely challenging journey. But I am so proud of what we have achieved, and I have to say, Jack has been the backbone and biggest champion of this. He has kept up morale when things did not go to plan. It’s incredibly hard working with your partner or spouse, but ultimately we compliment each other and have the same work ethic, so it works.
Image courtesy of Marco Kessler.
CN: The first online edition of WCPF is here with a diverse portfolio including established names such as David Hockney, Tracey Emin, Jake & Dinos Chapman and David Shrigley. What are your expectations for this year?
LG: We have absolutely no idea. It’s all so new being online only. I enjoy the personable aspect of art dealing, the ability to talk directly to the client and their ability to see the passion we have for a piece. The physical is a much more emotional and tactile experience I think, for the client. And let's face it, everyone is desperate to get to physical exhibitions this year. But I hope we can navigate and celebrate new approaches to curating and displaying contemporary print through The Online Edition. It is interesting to see how works translate digitally. It is also a whole new area to consider curatorially, when you don’t have the physical object in your hand, and are relying on photographs and sizes from the artist. It’s why I always hammer home the importance of artists photographing their work properly. This is a great, and unprecedented example of why it’s so crucial.
Our offering is truly unique, which closely reflects our remit – providing new ways to engage with contemporary print, demonstrate the breadth and versatility of the medium and dispel any preconceptions of what print is. Where we are unable to showcase some of the large-scale artist projects we’ve commissioned this year, we are providing a thorough interactive programme, complete with demonstrations, advice, talks and panels from leading creatives, curators and collectors. WCPF is all about educating and giving people access to all they need to know about contemporary original print. There are useful help points throughout the exhibition, ‘how to buy,’ ‘artist directory’ etc., and also special curated edits such as ‘collector picks,’ ‘Christmas edits,’ ‘prize winners’ and so on, to help audiences navigate the Fair.
Our exhibiting partners have been so supportive of our 2020 offering. Our developers have even tried to replicate the beautiful ex-industrial space of the former Cartridge Factory we have been in these past three years. Naturally, onsite we can all see the crowds and get a general impression. With The Online Edition, we are relying on analytics and need to check in with our exhibitors regularly to keep them updated, as they can’t physically see the crowds moving through their booths.
Charlie Behrens, Tape Head 9 (2020), 50 x 70 cm., edition of 25.
CN: You have a fantastic line-up in store. From thought-provoking talks to online tours and webinars to collecting and curatorial advice, this year’s fair has a lot to offer. With an extraordinary response to this year’s Open Call, what can your audience expect while browsing The Online Edition of WCPF?
LG: We are unique in offering a 50/50 model - 50% Curated Exhibition of over 350 emerging to mid-career artists selected through the international Open Call. These were chosen anonymously and democratically by a panel of industry experts - based on the individual work only.
These pieces hang alongside famous names such as Susie Hamilton, Stephen Chambers, Peter Blake and Gideon Rubin within our curated hang. Then we have 50% specialist gallery booths. Returning friends, such as Jealous Gallery and Pratt Contemporary, join new faces, such as Julian Page (who has a beautiful Alexander Massouras presentation) and Paupers Press. They bring other fantastic names like David Hockney, David Shrigley, Bridget Riley and so on.
I have been working on a collaboration with 4 artists - Woolwich Contemporary Studio. This is an extension of our interiors offering to bring audiences limited edition wall coverings and textiles, to truly immerse themselves in original contemporary art. You will see a booth dedicated to a glorious monotype by up-and-coming artist, Eleanor May Watson, which is part of this.
We have also launched the inaugural Young London Print Prize, which has brought printmaking workshops to over 500 primary school children across southeast London. It’s an incredible initiative and I am so proud of our team for delivering this. Three Sixth Forms, fine art students from three local sixth forms, helped judge the prize and you can view the finalists in booth 261. I’d thoroughly recommend it - the work is so sophisticated and not what I imagined at all. Finally, I’d encourage people to get involved and take advantage of our interactive online programme. There is something for everyone from collector advice and interior discussions, to art law mysteries, print workshop demos and women in print panels.
Damaris Athene, Pixelate me V (2019), 51 x 34 cm., screenprint, monotype, edition of 1.
CN: How did the pandemic impact your plans in advance of your fair as well as your gallery shows?
LG: Initially, we thought we would have enough time from March to November to realise a live event. We planned from the outset that we’d go online to compliment and expand our offering, particularly as some people might not have felt as comfortable going to the physical exhibition.
Come September, we had to make the hard decision to go online only. It meant we had enough time to drive all our focus towards this. We had planned to wait a little longer, but we would have haemorrhaged money, and we are such a small business with a huge remittance. We wouldn’t have survived being closed down last minute. So we were incredibly lucky and feel such relief to make the decision when we did, as a closure of events was announced soon after, and since then, lockdown. But what better during lockdown 2.0 to do than go online and be as close to the real deal as possible.
We did two shows online with the gallery. Our focus is material process and technique, and I think with the larger works, my clients like the intimacy of seeing the pieces in the flesh, sometimes even in their homes. With this not being an option through lockdown, I found the smaller works sold better online. It was so experimental and you learn and adapt. I think it definitely helped inform our sales strategy for the fair.
Fiona Grady & Catherine Ade, Colour Wheel (Purple) (2020), lithograph, lemonade press, 29.5 x 21 cm, edition of 20.
CN: What’s the hardest part of coordinating and navigating an online fair compared to physical fairs?
LG: Not having the pieces in hand. Having the measurements but not the human scale you would have in real life. Adapting each piece for the online platform and then reassessing with artist feedback about true representation. There are many more voices to consider and the admin commitment has been insane – learning, re-learning, planning, replanning.
CN: This year emphasised the adjustments that were necessary for continuing operation, differently, and making the most of this year. What is it in this year’s fair that you are particularly excited about?
LG: The added extras at the touch of a button. All usually available at the physical event, but can be overlooked as talks might be spread out, demos might be at the other side of the venue, etc. Also, we are now an international fair; we are no longer regional. People from all over the world can access and experience Woolwich Contemporary Print Fair. Anyone can support artists, collect print, and join us on our journey as a growing art fair and a small family-run business with a huge dynamic output showcasing the best in international contemporary print.
James Turell, Aqua Oscura – Winter (2019), 73 x 109 cm., polymer gravure etching, edition of 30, courtesy of Pauper Press.
Thank You, Lizzie.
Imagery courtesy of Lizzie Glendinning and Woolwich Contemporary Print Fair.
Woolwich Contemporary Print Fair: The Online Edition runs 11 November – 13 December, 2020.
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Christiana Ntetsika,
Contributor, MADE IN BED