Exhibition shows off Paul Catherall’s prints

A large-scale solo show by printmaker and illustrator Paul Catherall features the latest of his distinctive linocut prints

A large-scale solo show by printmaker and illustrator Paul Catherall features the latest of his distinctive linocut prints. Many recent commissions for the likes of the Southbank Centre, long-standing client Transport for London, Google and law firm Pinsent Masons will be on show.

The work of Catherall is eminently recognisable in the simplicity and boldness of its composition and linocut execution. Inspired by mid-20th century travel posters and designers such as Tom Eckersley and Tom Purvis, Catherall developed his own style, increasingly informed by his printing method.

It’s about a “quality that’s fairly abstract, where elements are missing and your eye does your work for you”, he says. “I’m exploring what to leave out rather than what to leave in, and getting the negative shapes to do the work.”

While studying illustration, Catherall also started to enjoy the “laborious, messy method” of linocut printing. Initially, he appreciated the way it would allow him to recreate an old litho style, but gradually he became obsessed with the process. “The more you get into the print process, the more you become obsessed with the sheet of the ink and the finish you get,” he says. “The whole feel and textures just becomes a slight obsession.”

Paul Catherall’s take on Portcullis House

His work graces numerous London institutions, not surprising given his inclination to depict the capital’s landmarks – the celebrated and despised alike – including the new Shard (see ‘Pink Shard, above, created as a one-off artist’s cover for Wallpaper magazine).

From top: Telecom Yellow by Paul Catherall, commissioned by Google; Telecom and Barbican, commissioned by Pinsent Masons; East Finchley, commissioned by Transport for London

Each print takes several weeks to complete, and Catherall enjoys the fact that the process combines the physical and the creative. “I think it does show. With everything you can generally see the time that’s gone into it.”

And as for those landmarks, Catherall says he will never get bored of them: “It’s usually that I want to revisit something; you  become less bored and far more involved,” he says. “I’ve become a bit obsessive.”

Paul Catherall at the Gallery@OXO (Oxo Tower Wharf, Bargehouse Street, London SE1) runs from May 1-19. A limited edition of prints is available for sale.

Out now, the May 2013 issue of Creative Review is our biggest ever. Features over 100 pages of the year’s best work in the Creative Review Annual 2013 (in association with iStockphoto), plus profiles on Morag Myerscough, Part of a Biggler Plan and Human After All as well as analysis, comment, reviews and opinion

You can buy Creative Review direct from us here. Beter yet, subscribe, save money and have CR delivered direct to your door every month. If you subscribe before May 3, you will get the Annual issue thrown in for free. The offer also applies to anyone renewing their subscription. Details here

CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month.

More from CR

ADC Annual pokes (gentle) fun at the industry

If you’ve seen our May Annual, you will have noticed a humorous call for entries ad for the Art Directors Club. The same DDB team behind that ad has produced the 91st ADC Annual, which continues to send up the creative industry

The digital pamphleteers

As a vehicle for subversion and satire, the single-page microsite devoted to one issue is fast becoming a new form for the polemical essay

Hiding in plain sight

Logos that actively conceal a brand’s identity can be confusing, but they’re also a clever way of getting noticed, argues our resident corporate identity expert

Feed the news machine and watch it twist your words

Colors magazine’s News Machine takes your tweets and puts them through the modern media mangle. Built to launch issue #86, Making the News, potential news generators can see it in action at the International Journalism Festival in Italy

Artworker

NAO (National Audit Office)

Junior Designer

National Theatre