Clare Halifax is a London-based printmaker known for her intricate screenprints and original drawings. Her work captures everything from architectural skylines and sweeping landscapes to delicate botanicals and curious animals. Clare’s work is a study of line, texture and pattern. Originally trained in Printed Textile Design at Loughborough University, Clare went on to complete a Master’s in Multi-Disciplinary Printmaking at UWE, where she developed her distinctive practice. 

Her screenprints and drawings are rich with observation, layering architecture, colour and line. From the botanical houses of Kew to the green spiked angular rooftops of London landmarks - Clare’s work balances precision with life; heavy detail with vast open spaces; scratchy monochrome with bright saturated pigments.

Clares exceptional body of work has exhibited internationally, and she has collaborated with the likes of the V&A, Liberty, Farrow & Ball and John Lewis.

Shop work by Clare here

KTS | Hi Clare, we’re so excited to chat with you about your beautiful prints – they’re a firm favourite here at Kentish Town Stores! We’d love to hear more about you and your practice.

Firstly, finding inspiration – Your surroundings clearly play a huge role in your work – from cityscapes to botanical environments. What is it about certain places that sparks inspiration for a new piece?

CH | Inspiration is everywhere, London in particular is so visually rich from the built-up areas to the parks. It’s always very full. But equally somewhere like Whitstable has a landscape that provides an opportunity to create a balance of minimal information and negative space. With the botanical work it’s nice to isolate certain elements and showcase them, but also create pieces that immerse you in the environment. The great thing about a mobile phone is that you now have a camera with you wherever you go so inspiring compositions can be captured instantly.

KTS | Could you tell us a bit about your transition from textiles to printmaking? Has this shift influenced your style or your approach to screenprinting?

CH | I worked as a freelance textile designer for several years but came to realise that I wanted to create work that wasn't being ruled by seasonal trends and motifs. I decided to do an MA in multi-disciplinary printmaking that allowed me the opportunity to explore different mediums and start the journey towards the work I produce today. But the textiles' beginning has been incredibly beneficial. I often create pattern to be part of my work, a USP that has helped to distinguish my work from others and also you’re taught colour theory in textiles which has been invaluable when approaching the original drawings I am now producing.

KTS | Your work is incredibly intricate, I love the depth and texture you achieve throughout your collection. Where does the process start for you when developing a new piece?

CH | When starting a new set of work or building upon an existing collection, the first step once the theme has been decided is to select a suitable photo and then begin the drawing. My camera roll is full of potential projects. That I am gradually working my way through.

KTS | To a total newbie, screenprinting could seem like a minefield. What is one piece of advice you would give someone looking at starting out and experimenting with this medium?

CH | At the beginning to keep it simple and manage your expectations, my first set of original prints were only two colours. And smaller work is a good way of having more control of the piece. Getting the fundamentals right at the beginning is also important. Just coating a screen correctly will make a massive difference. As you become more familiar with the method you can develop further depending on what your desired outcome is. It’s a very immediate practice and you can realise ideas quickly and also allows a lot of potential to play.

KTS | Your sense of space, composition, and pattern is so distinctive – some pieces even remind us of Hockney’s early pool works, with their flattened perspective and bold patterns. Are there any artists who influence your work, or whose work you just really love?

CH | Hockney is one of my favourites! Especially his line drawings and early etchings. As an artist he has constantly evolved into every medium and scale.

KTS | Are there any standout pieces in your collection you think really showcase you and your practice?

CH | You have moments when it all comes together as you intended in your head. Waterlily House and Home is one of those. Also, Around and About London just as drawing was a relief to see come together.

KTS | You have been working on more original works over the last few months and new subject matter found in Hampstead Heath, which we are truly excited to see. Could you tell us a bit about the overlap between your drawn work and screenprinting?

CH | The original drawings were something I developed into during lockdown. I was unable to access the studio as often and was looking at other ways of creating work. All my work has a strong drawn element. The originals allow a greater freedom in colour exploration and depending on the restrictions I have given myself stylistically can incorporate more colours than would be available to me while printing, plus a removal of the black line that exists in all my printed works. The main overlap is the composition. But the drawings also allow me to look at the same subject but create several different versions of it whereas in printing I would just choose one. The exploration of colour and composition can then inform any further printmaking.

KTS | We would love to know what’s next, how do you envision your work progressing further over coming years? Is there anyone you’d like to collaborate with? Or an untapped source of inspiration?

CH | I would like to develop into bigger original drawings and maybe look into painting. Inspiration wise, it would be nice to explore some different landscapes. An italian countryside maybe.

KTS | We love to support and celebrate makers. Are there any fellow artists or makers – in our collection or elsewhere – whose work you admire right now?

CH | Fred Coppin Paintings are truly lovely.

Thank you so much Clare for taking the time to share your story and artistic journey with us.