WHAT’S THE IDEA BEHIND THE PRINTING IN SWISS SHOWS, AND HOW DID IT COME ABOUT?

I wanted to spend time in cities where things had happened in the past, e.g. Dada at the Cabaret Voltaire, with an expectancy that things would continue to happen in future. After creating work in Amsterdam over a five-year period, I needed to write another chapter in my life story. So, where next? I have frequently been visiting Switzerland since I was a child, and I know the country very well. I think it would be impossible to start such a project without already knowing the country and its culture. As an educator, I have strong links with the Luzern School of Art, which kindly introduced me to studios and artists –

‘…which enabled me to land right in the centre of the Zurich art scene.’

WHAT DREW YOU TO SWITZERLAND AS A COUNTRY TO FOCUS ON?

The size of Switzerland appealed to me. There is a lot of diversity in the Jura, the Plateau and the Alps, and it is easy to travel between these regions (by trains that always run on time). Moreover, the galleries and museums in Switzerland are second to none; …it really is a delight for the art enthusiast.

‘In Switzerland, art is happening now!’

ARE ALL ARTISTS BASED IN SWITZERLAND?

Pretty much. Apart from Viola Chiang, who is based in nearby Venice, and – as you know – I’m from the UK. Moreover, I feel that being an outsider is a real bonus when working on such a project; I don’t have to worry about which camp I’m in.

‘I have been successful in uniting a number of Swiss artists who have never met previously, and this is a wonderful thing.’

Moving forward, I intend to work on exhibition projects that unite even more artists from even more countries and – in the fullness of time – create a truly international community of illustrators, designers and artists; …or die trying.

TELL US A LITTLE ABOUT THE WORK INVOLVED IN PUTTING TOGETHER SUCH A PROJECT AND TOURING EXHIBITION?

The amount of work is vast and could be daunting and off-putting. However, my approach is to focus on a time and a place and immerse myself as much as possible for a few years.

‘The exhibition is simply an outcome of this experience; …a time and a place’.

It’s quite difficult to get things started, and my ideas can initially be met with scepticism – but gradually people buy into the project and get involved. I would encourage other artists (and curators) to travel as part of their creative practice – it really does put your head in a spin; so many new approaches. I found myself side-stepping into new techniques and then moving forward in new directions. Directions that would never have been apparent if I were rooted to my workplace in England.

‘I need to find intensity in my life in order to find intensity in my art.’

As for the touring exhibition, everyone was so responsive to the project. I contacted venues where Printing in Swiss will be a follow-up to other projects. But Ty Pawb and the CMYK Festival will be new hosts, and we appreciate their involvement in the project very much, providing new platforms for international artists in the UK. In fact, all participants are over the moon about exhibiting in the UK. There is a lot of love and respect between our nations.