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Copyright art and photos © 1997 Sue Gollifer






One person Shows:

1971 York University.

1972 Serpentine Gallery.

1996 Sussex University


Recent Group Exhibitions include:


First British International Miniature Print Exhibition,Dumfries, Scotland.

12th Mini Print , International Cadaques, Spain.

- Various Museums in Catalunya, Spain

- Wingfield Festival of Arts & Music.

Arts Entente Cordiale, Ecole Nationale de Musique, Dieppe, France.

See The Prints, The Royal National Theatre, The South Bank, London.

Cross section, Gardener Arts Centre, Sussex University.

Making a print, Eastleigh Museum, Eastleigh, Hampshire.


Making a print:

-Willis Museum, Basingstoke.

- Andover Museum, Andover.

- Westbury manor Museum, Fareham

- Havant Museum, Havant.

- Red House Museum, Christchurch

Contemporary Prints, Haworth Art Gallery, Accrington, Lancashire.

Paintings and Prints, Concourse Gallery, Barbican, London.


-Villa Steccius, Landau, Germany.

- The Lyric Theatre, London.

Half Imperial Show, Scarborough Museum, Scarborough, Yorkshire.

Mini Prints, London Print Workshop, London.

Women taking liberties, a Clebration of Women in the Arts, Brighton

Artists Original Prints, Havant Gallery , Harrogate, Yorkshire.


International Exhibition of Graphic Art,4 Block', Kharkov, Ukraine.

National Print Exhibition, Mall Galleries, London.

The Big Thaw, Printmaking Open `94, Brighton Art Index, Brighton.

Contemporary Prints,Hatton Gallery, Newcastle

Estampes D'Outre Manche,Atelier Adzak, Paris.

British International Miniature Print Exhibition:

-City Gallery, Leicester.

- Brunel Gallery, Brunel University, Uxbridge

National Open Print Exhibition:

-Scarborough Art Gallery, Scarborough, Yorkshire

- Lethaby Gallery, Central St Matins, London.

14th Mini Print International :

-Cadaques, Spain.

- Wingfield Music Festival, Wingfield.

- Canet de Mar, Barcelona, Spain.

Twelve Contemporary British Printmaker:

-Karelian Republic Art Museum,

- Karelia, Petrozavodsk, Karelia, Russia

Media Lounge, ISEA, Helsinki, Finland.

BCAA "Digital Arts" Exhibition, Mall Gallery, London.

International Miniature Exhibition,Intaglio Gallery, London.


The British International Miniature Print Exhibition'

- The Bankside Gallery, Blackfriars, London.

- Ramsgate Library Gallery, Ramsgate

- Newbury District Museum, Granary Exhibition Room, Newbury

The British International Minature Print Exhibition

- Balbardi Gallery, Bathgate West Lothian

- Gracefields Arts Centre, Dumfries

- Bonhoga Gallery, Weisdale, Shetland

- Institute of Higher Education, Cardiff

30 Years of The PMC, Durham Light Infantry Museum &, Art Gallery, Durham.
14th International Mini Print, Art Centre Seoul, Korea.

ArCade I, First British International Exhibition of Electronic Art

-University of Brighton, Brighton.

- Digital Dreams, Newcastle College, Newcastle.

Fusion, Hardware Gallery, London



-Wakefield College of Art,

- University of Central Lancashire, Preston.

- Mercer Gallery, Harrogate

- Falmouth College of Art

Impressions, Rye Art Gallery, Sussex


A bunch of Digital Art, New Jersey, USA

ArCade II, Second British International Exhibition of Electronic Art

-University of Brighton, Brighton

- University of Derby, Derby

- Kensington & Chelsea College, London

The Third International Minature Print Exhibition:

- City Gallery Leicester

- Handel House Contemporary Gallery, Devizes.

- Rye Art Gallery, Rye

- AberystwythArts Centre, Aberystwyth

-Beldam Gallery, Brunel University, Uxbridge

'Transformations & Innovations', Mappin Art Gallery, Shefield


The Third International Minature Print Exhibition:

-Bankside Gallery 


Virtual exhibitions



Art Aids:

Virtual Galerij EKKO, Springtiji Festival, Utrecht, Netherlands


InSite, Watershed Gallery, Bristol

a room without walls, USA


ArCade II


Work included in the following Public Collections:

British Council Collection
Victoria & Albert Museum
East Sussex County Council
Buckingham Education Committee
University of Sussex
University of York
The Open University
Herbert Art Gallery, Coventry
Cambridge Art Gallery
Billingham Art Gallery
Hove Museum of Art
Ferrens Art Gallery, Hull
Guildford Art Gallery
South East Arts Collection
South London Gallery
Towner Art Gallery, Eastbourne
Scarborough Museum of Art
Museum of Kharkov, Ukraine

Recent Research & Scholarly Activity 1994 - 1998

Key Note Presentations at conferences include:


3rd International Symposium of Electronic Art, ISEA,Helsinki, Finland.

Artists in cyberculture, a round table discussion of ÔNethicsÔ

New visions of the post-industrial society Conference, the University of Brighton.

Virtuality and networking,

2nd World Wide Web Conference, Chicago, USA

Imaging the future


Digital Creativity, CADE, Brighton, UK '

Artists and the internet

The Net Result is Art, 3rd Digital Dreams Conference, Newcastle, UK

1.What are the options for artists presenting work on the internet.

2.If a million artists each have their own Internet site, who will serve as arbiter of taste? If the culture industry won't curate a flood of unmarketable art who will?


84th College Arts Association Conference, Boston, USA.

The State of International Printmaking, ET IN ARCADIA EGO

Royal Photograhic Association, Holography Group.

Computer Art

SplitScreen, Conference, Chichester, UK

Is the world wide web the Gallery of Babylon?

Digital Ats Day, Visual arts UK, Gateshead

Digital art

LTDI Workshop , Dundee University

Transaction at a distance: collaborative work on the internet


Wired Women, Portsmouth, Uk

The WIICA web

'Digital Creativity: CADE, Brighton, UK

1. Global collaborations

2. The impact of Digital Technology on International Printmaking

New Fields in Fine Art, Kensington and Chelsea, London, UK

Electronic Printmaking

Communiversity Conference: Public Art, Technology and Education, London UK

Figuring it out.....

DRH Digital Resources for Humanities, Oxford UK

Why CTI?


86th CAA Conference, Toronto Canada

Printmaking ; Above and Below the Surface

Global collaborative Printmaking (Pending February)

Teaching experience: 1968-1998

Full time

1984 - 1998

University of Brighton: Senior Lecturer in Fine Art

Visiting Lecturer in Printmaking


Loughborough College of Art & Design

Rhode Island School of Design, Rhode Island, USA

Brown University, Rhode Island, USA

1968 / 1984

University of Brighton:

1983 / 1985

Eastbourne College of Art


Central School of Art

Camberwell school of Art

1974 / 1979

Epsom School of Art


St Martins School of Art

1969 / 1973

Hastings college of Art


Some examples of recent Published journal Articles, Conference Papers: 1994 -1997


Gollifer, S.(1994)Colourful Computing

Artists Newsletter. August

Gollifer, S.(1994) Imaging the future

Proceedings of the World Wide Web Conference October Chicago, USA.

Gollifer, S.(1994)1. Defining the limits of metaphor....

2. The uses of networking.....

Art and design Case studies: AGOCG Technical report 26.


Beardon, C. Gollifer,S & Worden, S. ( 1995)

Virtuality and networking: issues of identity and community

Conference proceedings - New visions of the post-industrial society

Gollifer, S.( 1995)ProNet Women and the Internet

a collaborative CD-ROM.- Funded by the Swiss Government.

Gollifer, S.(1995)ArCade I, Virtual Galleries'

Conference proceedings and CD-ROM.- CADE Conference

Beardon, C., Gollifer, S., Rose, C. & Worden, S. (1995) Designers as Users

Third Decennial Conference, Arhus, Denmark. August

Gollifer, S.(1995)

Soft Options: Software applications which are designed to provide on-screen tools and functions....

Artists Newsletter September 1995


Gollifer, S & Hartney, M (1996) Symetry and contradictions Artists Profile ,.'

Sue Gollifer: ' Printmaking Today'

Gollifer, S.(1996)State of International Printmaking'

Conference proceedings, 84th CAA conference, Boston, USA,

Gollifer, S.(1996)'The application of electronic tools to printmaking',

YLEM, artists using science technology, USA publication

Gollifer, S.(1996)'Computer Art',

The Royal Photographic Society Newsletter, December

Gollifer, S.(1996)'Review of SplitScreen Conference'

OutLine, CTIAD publication


Gollifer, S.(1997)1.'The impact of Digital Technology on International Printmaking'

2.'Global Collaborations'

Conference proceedings - CADE Conference April

Gollifer, S.(1997)'Review of ISEA Conference'

OutLine, CTIAD publication

Boullier, B & Gollifer, S (1997)

'A Review of IBM PC and Macintosh Compatible Image Manipulation Software'

AGOCG Technical report Number 35

Gollifer, S.(1997)'Is the world wide web- The Gallery of Babel?

Conference Papers- Split Screen , Chichester, July 1996

Beardon, C. Gollifer,S.Rose, C & Worden, S

Computer Use by Artists and Designers: Some Perspectives on Two Design Traditions

Computer and Design in Context

MIT Press




Statement About my Work:

My work has developed in the last twenty years according to a rigorous programme of formal experiment, through which sets of relationships evolved between shapes, colours and tones. At first these relationships were concerned only with the surface of the work: illusions of depth or movement were made explicit as illusions, by using a systematic grid arrangement, and maintaining the symmetry of the overall design. Later, perspective was incorporated into the work, so that the arrangement could be read as a depiction of a space with depth, although never as a 'scene ': the space depicted exists solely in the work.

More recent prints are designed to raise questions about the surface itself. The prints are made of paper, coloured. If anything is represented on them it is coloured paper, with folds, angles and creases suggested, but at the same time contradicted by the arrangement of colours, lines, and tones. The intention, as always, is to provide an arena in which the eye can be stimulated and pleased, while the mind can exercise its right to pursue or to reject the illusions offered or withheld.

Each print is of course a complete image, but when viewed in groups, or as a series, the prints can be seen as stages in a continuously process of transformation, from point to point, constantly polymorphic process, whose identity is maintained by my preference of tonal, chromatic and formal combinations. Although much of my work is still concerned with the traditional media of printmaking, I have become increasingly involved with new reprographic technology, using computer-generated imagery and innovative reproductive techniques, such as laser-based scanning and printing. These assist me to discover creative and surprising solutions to problems. The memory and speed and the vast network of options allow new thought processes to be explored and discarded painlessly as the ideas take shape, develop and germinate.

One attraction of this new technology, of course, is the convenience: calculations which once occupied hours, and involved painstaking measurement with ruler and compass can be completed with greater accuracy in seconds, leaving more time for the purely human judgments which remain fundamental to art. Another, as I have suggested above, is the possibility of creative error: a step taken with uncertainty can result in chaos, in which case it can be quickly unmade; or, more rarely, it can produce or suggest an order unforeseen in its complexity. In these cases the device is incorporated into the repertoire of available options, and the process of refinement and discovery continues.

Perhaps even more significant is the possibility offered of detaching the images, or the relationships which determine the images, from their material base. Although ultimately all experience of art derives from the perceptions of artist or viewer in the context of material sensations, computer technology enables the sources of these sensations to be temporarily encoded as streams of digits. In this form they can be modified in scale, directed into a wide range of printing or reproductive media, or almost instantly transmitted over vast distances. In these ways, the specific material form of the image can be made less obsessive. The transaction between artist and viewer becomes less that of a negotiable object, more that of a dialogue about perception. When I started to make prints, I was motivated by precisely that possibility: its renewal through new technology continues to motivate my work.