Miriam Hancill

Miriam Hancill was chosen to be one of 7 student artists exhibited at Talbot Rice Gallery as part of the 2019 Trading Zone project, which was supported by the Edinburgh Futures Institute. Unfortunately, due to the Covid-19 pandemic, the exhibition never took place. We are delighted to be able to share two of Miriam’s new prints here, which have been produced as part of her PhD work at the Edinburgh College of Art. As part of its commitment to collaboration and interdisciplinarity, the Edinburgh Futures Institute will continue to work with Talbot Rice and many other institutions within and beyond the University of Edinburgh.


Miriam’s Artworks

1.Untitled (dappled YMCK scrim), monotype, 2022

2.Untitled (ringed YMCK scrim), monotype, 2022

Miriam’s Statement

The prints presented here have developed from ongoing explorations of ‘printness’ (Balfour, 2016/2018: p.120), through attending to and dwelling in the media, tools and acts of printmaking. Ink, scrim, and paper coalesce under the pressure of the printing press to form works which exist as procedural records rather than final finished outcomes.

In November 2021 I undertook a two-week residency at Hospitalfield, Arbroath, where I had the opportunity to work in their Kinpurnie Print Studio. The discovery of a bolt of scrim beneath the workshop tables prompted a reflective investigation into the fabric, which is conventionally used within etching and lithography processes. Throughout my visit I experimented with printing its distinctive texture, considering the circular buffing action often used when applying the material to remove ink or Gum Arabic from the surface of a printing plate or lithography stone. Here the action was applied randomly in attempts capture the soft-edged scuffing of the material and track the movement of my own labour within the surface of the ink.

This working process was developed further on returning to ECA, where I began printing with much larger pieces of scrim in layers of cyan, magenta, yellow and black (CMYK) ink. This resulted in the unexpected emergence of moiré patterning in the prints and instigated considerations of interference as a prompt within contemporary print practices, a point of intervention beyond the control of the printmaker which draws attention to the haptics of the procedures applied as well as their potential.

About Miriam

A portrait of Miriam Hancill; she is wearing a black turtleneck shirt and has long, wavy brown hair
Miriam Hancill

Miriam Hancill is an artist and practice-based PhD candidate at Edinburgh College of Art. Her research project ‘(Un)learning in the Workshop: exploring the relationships between working environments and innovation in contemporary printmaking practices’ considers how a reflective and expanded approach to the printmaker’s workshop can, through the lens of unlearning, offer alternative procedural approaches within contemporary print practices.

Miriam’s artistic practice thematises the generative nature of the printmaker’s studio, re-contextualising its apparatus and processes from mechanical means of technical mastery to central elements in the artist’s decision-making process. It makes explicit the media, tools, decisions and actions of the printmaker within the workshop setting, highlighting their labour as well as the tactile nature of their practice.

Miriam holds an MFA in Contemporary Art Practice from Edinburgh College of Art, as well as a BA (Hons) in Fine Art from Newcastle University.



Balfour, B. (2016), ‘The What and The Why of Print’ in Pelzer-Montada, R. (2018)

Perspectives on Contemporary Printmaking: Critical writing since 1986. (Manchester: Manchester University Press). pp.114-126.


See Miriam’s other works on her website.