Meet the Maker: Rosie Mclay
I'm Rosie, a 32 year old female artist who is mostly from Bristol but can't decide whether to live in Bristol or the Welsh borders so is a bit all over the place. I've been a full time artist for eight years, mostly making art about our relationship to mortality and nature by exploring the human body and the earthly elements.
Describe your printmaking process.
The printmaking process I've ended up working in is probably the best one for intricacy and sensitive mark making. Some etchers work in 'dry' point techniques where you directly scratch the plate, so I suppose my way is 'wet' point? The wax is rolled and smoked onto the surface before drawing. Wherever the wax is taken off from the copper the acid will be able to get to. As a lover of drawing, to be directly scoring the ridiculously thin and delicate wax ground with my needle point tool is just the most satisfying possible surface to work on. It's a game of how you disturb the surface of the polished copper really. Then the ink sits in the grooves and disturbances but I also love to paint in smoky textures with the ink where most printmakers choose to keep it clean and consistent.
How and where did you learn to print?
I learned etching alongside loads of other totally brilliant skills on my Drawing and Applied Arts degree at UWE in Bristol. I graduated in 2014 after 3 years of full on learning and exploration and I miss it so much.
Why printmaking?
I got passionate about print when I was also making 3D work in metals including copper and brass and I was just fascinated by all the ways you can manipulate metal, a material that I'd always considered so permanent. Copper plate etching was the perfect mixture of my love of drawing, mucking about with metal and process as well as producing multiples. I'm so precious about my work and knowing I could have an edition where if I wanted to stitch, tear, paint or write on one then it was alright, I had another if it didn't work out.
I've got my own chaotic, woody and cosy studio at Estate of the Arts in Bristol with my 140 year old star wheel etching press; the most precious and inconvenient object I own. I bloody love my space and it's become my anchor while my inability to decide where home is continues... I'm surrounded by dozens of other at years ago when it was just an empty industrial estate and now it's filled with 60 artists. It really feels like it's going to be impossible to ever leave here!
Open big annoying shutters. Little neighbour dogs come over for a tickle. Black tea. Music or radio immediately. Stare at my diary, order sheets and endless to do lists that don't totally make sense.
If I'm working on a new plate I'll be at my table easel surrounded by sketchbooks, reference materials and tea. Some days it's all about framing as this is all done in house with my assistant so I'll be finishing prints in gold leaf, emboss stamping and signing a lot. Other days it's about printing so I'll need to do a big tidy up, get tearing paper to size and get my apron on. And lastly order days where I'll be making parcels, (I re-use all my packaging so it can take ages) and working on admin while huddled over the radiator.
Lunch is always at 1 and I sit with my other maker mates in the yard, no matter the weather.
How long have you been printmaking?
So I learned loads of printmaking techniques in my first year at Uni which was 2011. Jesus it's 2025. Have I really been printmaking for FOURTEEN YEARS?! I'm definitely still only 'scratching the surface', (weheey) with this craft. I've gotten so carried away with just drawing on copper and there's so much potential for more.
What inspires you?
I use making art as a kind of diary. There'll be something that's happened in my life that's made me either visualise a certain animal or something that I want to be closer to, or it's something that is troubling me and learning more about it eases me. Learning and intimacy with the world around me I suppose.
What is your favourite printmaking product?
Oh well it's got to be Somerset Velvet paper that's made in Wells. 100% cotton, handmade, textured, soft white beauty.
What have you made that you are most proud of?
That changes all the time. That's such a hard question! Most recently it's actually probably my new anatomical stained glass window. But I am also proper chuffed with my human hand piece 'Strings' , which has already been rejected from three different open exhibitions despite only finishing it 2 months ago. Boo.
Where can we see your work? Where do you sell?
I'm exhibiting at the RHS Spring Malvern show 8-11 May as part of the Cotswold Craftsmen Guild. I love shows, I do more than twelve art fairs and craft shows a year. I get to go around the country and meet so many people and talk about EVERYTHING. I also have a huge miniature giclee print and card collection which are more affordable little reproductions which I sell in shops and galleries around Bristol such as Molii Fishponds, Upfest Gallery and Me & East in Totnes but I have most of my work on my website shop and originals by enquiry.
Also it’s not technically official yet so I haven’t told most people but I’m opening a gallery studio in Hay on Wye in a few weeks! Me and my friend Pia Longden are combining our love of glass, paper and stone in this little space at the back of Hay Castle. It’ll be open every Thursday and Saturday at least, from our opening party onwards on Saturday 17th May, but you can contact me to see if we’re open.
What will we be seeing from you next?
I'm working on a few things; a new big splashy wave aquatint etching and my first painted stained glass commission. I've just got back from a trip to Japan and I have a real hankering for a massive heron piece too.
Do you have any advice for other printmakers and creatives?
Keep a forgiving eye on how your creativity fluctuates through time. I really beat myself up over not being more explorative or making enough new work, but noticing the small ways that in that period of time your heart or head get switched on and use that as fuel. Even if it's expressing something in a really small way that's for nothing else but really being with that moment, just do it. Also for printmaking in particular, never throw any misprints away (someone will always want them), keep a journal of your plate progress and editioning notes (I never do but wish I had) and always have nail polish in the studio (in case you got ink or general print goo staining your hands and you get invited on a date).
To see more of Rosie, follow her on Instagram or see her website!