Martin Mitchell moved to Norwich in 1989 and quickly established him self as one of the leading artist printmakers in the region. In 1995 Mitchell set up the Norwich Print Fair (www.norwichprintfair.co.uk) with the aim of supporting and developing the work of fellow printmakers, at the same time promoting the understanding and appreciation of fine art printmaking. The annual Norwich Print Fair, now ably organised by Louise Elvin, H.J, Jackson and Gary Martin, is now well established as part of the cultural calendar of Norfolk.

Mitchell’s own work is firmly rooted in the traditional process of intaglio and relief printmaking. His well known etchings of representational landscape have led, in the last four years; to the more demanding engraved process of Mezzotint producing acclaimed atmospheric, tonal landscapes of Norfolk and Suffolk. “I have never really considered my landscape work in a strictly topographical sense, although I can point out the scene on a map. The final image is removed through several stages, by of the processes of etching from the real view, also my method of collecting source material. I would walk and cycle all over Norfolk and Suffolk producing rapid spontaneous sketches. With the long bike rides, unlike a car journey, you can feel the day, expense its moods, hot or cold, windy or still, silence and bird song you are already preparing to work before you arrive. I would return to the same scene over a period of several weeks if not months until I had five or six plus sketches and drawings done at different times of day, weather conditions even seasons. Then in the studio working collectively from them all, often using soft grounds, spit bites and sugar lifts. Trying to express the essence of place. Of course now that I can’t go for walks, unless a friend with a car can take me to a place with wheel chair access. Now my landscape work is as much about the memory of place. I will often spend an hour or two with an old Ordnance Survey Map following favourite routes and walks. My memory of course of place is there but it's as much the sense of time and place, of man in the environment. So there is an inevitable undertone of melancholy running through my recent work. but I still miss my walks.

When I asked Martin what it was that first attracted him to printmaking and particularity etching. He smiles at the memory and says. “I got lost in the British Museum. I was only 18 or 19 at the time and had gone principally to look at Greek and Assyrian sculptures but having got myself lost I was quite happy to amble at will and ended up in the Print Rooms looking at Rembrandt's the “three crosses”. There were five different states, one printed on vellum in which, over the centuries; the ink had bled, staining the parchment with magentas and warm sepias. Standing there was the moment that I knew I would be an artist and had to learn about etching and printmaking.”

“So what was it that made you turn to Mezzotints.” I had for several years admired Mezzotints; bought several that still hang on my wall, but never thought I would have the skill or patience to work in such a demanding medium. However due to disability I am unable to stand for very longs periods, or short ones for that matter. As you will appreciate wobbly legs and trays of acid are not a great combination. So borrowing a 30-gauge rocker I played around for a couple of days and was delighted by the results. Here was a wonderful way to work, sitting at a bench, working quietly and methodically away. I was well and truly converted.”

Ambrose Gibson.