Tracy Hill is joint research lead/coordinator of Artlab Contemporary Print Studios, which tests the relevance of printmaking in contemporary, mainstream art by innovation and expanding print practice through a process of continuing collaborative dialogues with artists. Tracy’s specific interests investigate the possibilities of digital technologies and the aesthetics of the traditional hand created mark. Contributions to BA and MA teaching alongside studio members and professional artists print practice.
Tracy supports research and specialist printmaking practice, co-leading the 1st year elective printmaking module, artist residency placements and trans-disciplinary projects within the studios. Exhibiting nationally and internationally with notable awards including, The European Printmaking prize (SMTG Krakow 2018) Awagami Paper award (2017) and RBSA Print Biennial prize (2016). Contributions to publications including ‘Thinking the Sculpture Garden, Art, Plant, Landscape’, Penny Florence; Living Maps Review / Print and Art Edition Magazine; and Imprint, the quarterly fine-art journal published by the Print Council of Australia.
Tracy Hill works within a specialist research and teaching team, contributing to development of Printmaking in the North West. Tracy’s trans- disciplinary practice explores developing technologies and innovative use of materials within the existing narratives of printmaking. Print is constantly re-invented in the studios through an open-mindedness of methodology and the ability to see and then develop the potential of combining processes and ideas rarely associated with its traditional past. Since 2014 Tracy Hill has worked alongside Magda Stawarska- Beavan leading the development of Artlab Contemporary Print Studios. Collaborative partnerships with professional artists have been a key objective of this development. Artists include: Jason Hicklin, Ingrid Pollard, Anna Friðbjörnsdottir, Vince Briffa and Helen Cammock who notably worked in collaboration with Tracy to develop ideas and prints for the production of work for Shouting in Whispers, Cubitt (2018) which led to her nomination for the Max Mara prize. Continued collaborative dialogue led the production of her large-scale relief prints for her prizewinning show Che si può fare at Whitechapel Gallery (2019). Cammock was nominated and later won the Turner Prize (2019) siting that working with Artlab Contemporary Print Studios had shifted her practice. Tracy Hill and Magda Stawarska-Beavan programme and co-ordinate annual talks, exhibitions and public workshops, inviting international visitors to exchange knowledge and expertise with artists and collectors in the North West. ‘Women in Print’ symposium was an integral part of programmed events, running alongside Lubaina Himid’s touring exhibition. Tanja Engelberts, Catriona Leahy, Anna Friðbjörnsdottir & Małgorzata Warlikowska initiated new conversations about contemporary print and its role in the debates around archive and place.
- MA, Masters Fine Art, University of Central Lancashire, Preston, UK 2015
- BA (Hons) Fine Art, Sheffield Hallam University, Sheffield, UK 1993
- Bournville School of Art, Birmingham, UK 1991
- Artist Bursary award, AN 2019
- European Printmaking Award, SMTG Krakow 2018
- Awagami Paper award, 2017
- RBSA Print Biennial prize, 2016
- Artist travel award, AN 2016
- Acrylic print processes
- Walking art
- Collaborative practice
- Geo-location mapping
- External examiner for PhD candidate Wendy Pickin, UWE 2018
- Fellowship of the Royal Geographical Society (with IBG).
- Editor of CGeomap Geo-Storytelling - collaborative spatial narratives/ writing / open source platform
- Member of Walking Artists Network
- Member of Artdotearth.
- Associate member of Impact journal. CFPR, UWE