Aine Scannell

Born 1957 in Ireland where she was brought up by nuns of the Ursuline order. Following a period of travel and work in Europe she studied for her B.A. Hon’s. in Fine Art at Univ. Middlesex, London. A few years later Aine undertook European Fine Art Painting, to Masters level at Winchester School of Art, in Barcelona, Spain. It was during this time that she encountered/experienced the possibilities of printmaking and thereafter undertook independent studies in a range of printmaking techniques and completed this research by undertaking another Masters degree in Printmaking at Wimbledon College of Arts, University of the Arts, London, finishing in 2000.

Aine is a national and international award-winning artist - she has exhibited extensively internationally from Belize to Brazil to Iceland to the United States.

She has exhibited on two occasions in the Krakow International Print Triennial in Poland. She has also exhibited at many galleries and museums in the UK. Aine has shown in quite a number of private and public galleries in England - mainly in London - where she lived from 1978 to 2007. She relocated to Scotland in 2007.
In Scotland her work has been shown in commercial and public galleries most recently in Edinburgh at the Royal Scottish Academy with the SSA (Society of Scottish Artists) and in the RA’s Annual Open Exhibition.
Aine is a featured artist in the book "Printmaking at the Edge" by Richard Noyce.

Her works are a hybrid of traditional and digital printmaking techniques and figurative in nature. Her subject matter being human existence and how we relate to one another / our environment and ourselves.


Society Scottish Artists (professional member) Glasgow Print Studio, Dundee Contemporary Arts Print Studio, Fife Dunfermline Printmakers. D.A.C.S. (Design and Copyright Society).


A Selection of My Artworks

While I was undertaking my Masters Fine Art studies in Barcelona, Spain I encountered printmaking, this introduced me to a branch of fine art where I discovered a huge range of possibilities in terms of mark making and I just loved it to its bones. One of the things that I particularly liked was that there seemed to be no rules and a boundless field, in which it was possible to play with materials and meanings.

This Pandora's Box could be using intaglio carborundum, Japanese papers, cutting up copper sheets into figurative shapes OR using drypoint on transparent rigid plastic or perhaps making an aluminium etch which has been, one of my more recent experiments/investigations.

Through the exploration of materials that I conducted I found an enrichment to my image making. I also delighted in creating printmaking based “installations” as a means of communicating more complex and open ended concerns about issues of interest to me.

These, I was able to realize by making reference to the inherent characteristics/social connotations of certain materials e.g., ‘salt’. I would use these ‘symbolically as well as for practical printmaking purposes in the workshop. I loved the dynamic that was opening up to me as an artist, the more I became embroiled in professional practice as a printmaker.

Her Honour “Her Honour”

This piece was made for a competition in Printmaking in Italy. It's about an Indian woman who makes choices for herself but who still faces many challenges to her identity in a culture that prefers women to be seen and not heard.

Size: 50 cm x 50 cm
Techniques: collagraph, aquatint and etching with chine colle
on Somerset Velvet paper.

Unique Print

The Space Between Us “The Space Between Us”

From a series of dry pigment drawings concerning tensions between people

size: 30 x 46 cm

Materials: soft pastel on Fabriano paper

In the Dark “In the Dark”

Drawing created as part of my research and Development for an artists book called "Let Sleeping Birds Lie"
I have then re scanned it into my computer and worked on it further using Photoshop.

Size: A4

Materials: water soluble graphite + computer software

Bed Head “Bed Head”

This is a preliminary "Visual Projection" for an intaglio print that is still a work in progress. I have used proofs of the individual elements and combined them together to get a sense of how the final piece will look. Of course I am also very much considering which colours will work well together.

Size A4

Hybrid Seal study “Hybrid Seal study”

A visual from another series of works in progress called SELKIES. These are printed on wood intaglio backgrounds, mainly using drypoint although there may be some photo etched plates from my drawings.

Size: A4

Stitched Bear “Stitched Bear”

A print I made about how the Polar bear is only just 'holding itself together' as a consequence of mans abuse of the environment.
They are really suffering because of our thoughtlessness regarding carbon emissions and other harmful effects to our beautiful planet.

Size: 25 x 35 (paper size)

Techniques: Collagraph

Small Things “Small Things”

This piece was created as a submission to the BIMPE printmaking biennial in Canada 2016. Unfortunately it didn't get selected - which really disappointed me as I felt the 3 prints I entered were the best I had ever submitted. I had been selected on 2 occasions in the past. Perhaps it wasn't
'my turn' this time around.

Size: 25 x 35 cm (paper size)
Technique : photo etching and collagraph with mono type /pigment inkjet background.

Swaddlebaby (working title) “Swaddlebaby (working title)”

This was another "Bimpe" printmaking biennial submission - created using drypoint on textured polypropylene. Its a very small space that one has to work within. The image area is only 10 x 15 cm, so the 2 elements had to fit this space precisely. Its a celebration of the preciousness of life itself and especially in the form of a new born infant.

Sibling “Sibling”

Lino intaglio,Wood Intaglio, Collagraph, inkjet chine colle on Hahnemuhle paper.

60 x 60 cm