When it comes to creative mediums, printmaking might just be top of our list. Engraving, rolling, the suspense of lifting the block – and the joy in revealing its mark: to us, there are few processes quite so satisfying…
It’s a sentiment shared by self-taught printmaker George R. Murphy. Crafted at home using DIY methods, George’s work is a blend of expression and advocacy, exploring themes of social justice, community activism, and place.
This year, George is one of Anthropologie’s sponsored artists, enrolled on Create’s Nurturing Talent Programme. The traineeship supports emerging artists to run workshops alongside industry professionals, helping empower marginalised groups through creativity.
George will also be bringing their printmaking prowess to our stores, working with the Anthro visual team to curate our much-loved window displays. And so, to celebrate their achievements, we caught up with the maker to talk everything from wonky prints to championing change…
A Life in Print: George R. Murphy
Hear from the artist on community, advocacy, and their work on Create's Nurturing Talent Programme.
How did you first become a printmaker?
It all began during a particularly bad period of my chronic illness where I was spending a lot of time at home. I started printing so that people would stop telling me to get a hobby; I’ve been obsessed ever since.
Portrait of George R. Murphy
What do you love most about lino?
Whilst I enjoy experimenting with lots of different materials and methods, lino is the medium I feel most at home with. I'm drawn to the striking imagery it produces, and the role printing has played historically in helping marginalised groups feel seen and heard.
It’s also a very physical process, and you never know quite how it will turn out. I love how every print has its own quirks and imperfections.
It’s also a very physical process, and you never know quite how it will turn out. I love how every print has its own quirks and imperfections.
You’ve mentioned using household objects in your printing. Can you tell us about this technique?
Once I've carved my block and rolled the ink, I use a large metal or wooden spoon to hand-burnish the print onto paper or fabric. This method originally came about because I didn’t have access to any professional printmaking presses or equipment, but I really enjoy it – it’s an incredibly embodied way of bringing a print to life. The process actually dates back centuries, and is associated with some of the earliest forms originating in East Asia.
Your work explores themes of queerness, disability, social justice, and community care. Why is this so important to you?
I believe art is a powerful tool in fighting systemic inequalities and amplifying the voices of underrepresented groups. Plus, as a gender-queer, neurodivergent, and disabled artist, I'm beginning to explore my own lived experiences through my work and hope this may help other people feel seen.
George R. Murphy's first print block
What’s the print you’re most proud of, and why?
I facilitated the creation of two large-scale pieces earlier this year as part of an arts festival in Blackburn. The two metre-long collaborative lino blocks were lovingly carved and hand-printed by 400+ people over one weekend. Having only ever created small blocks before, I had no idea if it would work; it was a real test of my skills. I almost cried when we revealed the first print!
Can you name a piece that aligns with a very significant milestone or event?
Bed Days’ explores my journey with chronic illness, specifically fatigue, and when it really started to impact me. Although this represents a difficult time, it also signifies a point in my journey where I started taking ownership of my identity as a disabled and sick person.
I also think my piece ‘Collective Care is The Future’ carries a really important message. It’s inspired by the practice of mutual aid, and the support networks that developed during the pandemic. It’s a celebration of alternative systems of care, too; something that has been essential to the survival of many marginalised and oppressed groups throughout history.
I also think my piece ‘Collective Care is The Future’ carries a really important message. It’s inspired by the practice of mutual aid, and the support networks that developed during the pandemic. It’s a celebration of alternative systems of care, too; something that has been essential to the survival of many marginalised and oppressed groups throughout history.
George R. Murphy with Large Collaborative Lino Printing commissioned by the National Festival of Making.
Would you be able to share more about your work with Create?
As part of the Nurturing Talent Programme, I have worked in an adolescent psychiatric unit, with young carers, and alongside people from refugee and migrant backgrounds. I'm really looking forward to using everything I have learnt to develop my own cross-arts workshop.
To find out more about our ongoing charity partnership with Create – and how we're sponsoring artists like George – click here.
Image Credits
Photo Credit - National Festival of Making
Photographer - Robin Zahler
To find out more about our ongoing charity partnership with Create – and how we're sponsoring artists like George – click here.
Image Credits
Photo Credit - National Festival of Making
Photographer - Robin Zahler