If successful, the £10,000 bursary would enable me to embark on a bold new phase of my practice—deepening a line of enquiry that began during a fully funded scholarship at the Scuola Grafica Internazionale in Venice. During this residency, I travelled through the Alps to document rapidly retreating glaciers, before arriving in Venice where I witnessed acqua alta sirens and street flooding. Experiencing these contrasting yet connected environments—melting ice and a city at risk—has profoundly shifted the direction of my work.
This award would fund further research trips to alpine regions in Europe (Switzerland, Northern Italy, and France) to document glaciers through drawing, photography, and field notes before they disappear. I will use these experiences to develop a new body of work that uses traditional printmaking and drawing to explore environmental fragility and the impact of climate collapse.
The bursary would cover travel, accommodation, and materials, as well as studio time to create a series of large-scale prints and drawings. It would also support the delivery of a public programme in Darlington, including an exhibition, artist talk, and creative workshops. These events will offer the community opportunities to engage directly with environmental themes through drawing and printmaking—making visible the connections between distant landscapes and local concerns.
This new line of inquiry expands my long-standing interest in landscapes shaped by human activity—quarries, ruins, and derelict sites—by linking it with the urgent environmental crisis of glacial melt. The Dover Prize would provide the space, time, and resources needed to take creative risks, test new ideas, and push the boundaries of my practice.
Importantly, it would help me connect historical printmaking methods with contemporary climate issues, showing how traditional techniques can speak powerfully to modern challenges. It would also mark Darlington as a key location in the evolution of this new work—raising the profile of the creative arts in the area and fostering wider dialogue through exhibitions and public engagement.
My proposed project—exploring the vanishing landscapes of glaciers and their connection to flooding in low-lying cities—speaks to global concerns, but is rooted in place, drawing strong links between landscape, heritage, and climate. If awarded the Dover Prize, I would use this opportunity to build meaningful connections with the creative community in Darlington by sharing this work through public engagement.
I plan to deliver workshops in drawing and printmaking that invite participants to explore their own relationship with place, change, and memory—encouraging creative expression in response to environmental themes. These sessions would be accessible to a wide range of participants, from emerging artists to members of the public with no formal training.
The exhibition and accompanying artist talk would situate Darlington within a broader, urgent dialogue around how landscapes are shaped and lost—culturally and physically. By linking historic practices such as etching and topographic study with contemporary environmental issues, I hope to spark conversations that resonate both locally and globally.
Through this, I aim to raise the profile of the creative arts in Darlington as a space of both critical reflection and creative innovation—placing the region within a wider network of climate-aware artistic practice.
My practice explores landscapes in states of flux—spaces that are fragile, decaying, or shaped by both natural forces and human intervention. Working predominantly in drawing and printmaking, I’m particularly drawn to industrial ruins, derelict buildings, and mountainous terrains where time and history leave visible marks. These environments speak of loss, transition, and impermanence—echoing wider concerns such as economic collapse, environmental degradation, and the shifting fabric of our communities. Printmaking, especially etching and monotype, allows me to work intuitively with process and material. I’m drawn to the alchemy of print—the layering, erosion, and unpredictability of mark-making—that mirrors the surfaces and stories of the landscapes I document. Through these techniques, I aim to capture not just the physical presence of a place, but its emotional and historical resonance. A key strand of my recent work developed from a residency in Venice and the Veneto region, where I documented glacial retreat in the Alps and explored abandoned industrial sites on the mainland. The contrast between these environments—natural and built, collapsing and disappearing—raises important questions about tourism, climate crisis, and the long-term viability of place. The body of work I’m developing from this experience includes monotypes and etchings that reflect on the haunting beauty of ruins and the traces of absence left behind. Recent exhibitions include Stones and Power, a solo show that followed a three-month residency with The Lodge Project in Wirksworth, and an upcoming group exhibition titled Follies at the Royal West of England Academy (RWA), exploring architectural and metaphorical follies through print. I also regularly curate and exhibit with the Bristol Print Collective, a group I co-founded to foster collaboration and community through printmaking. Alongside my studio practice, I lead workshops and creative retreats that combine walking and drawing in nature. These events provide space for others to slow down, observe, and connect more deeply with their surroundings—an ethos that underpins my entire practice.
Yes, I have degrees at both undergraduate and postgraduate level in the visual arts. I completed a BA (Hons) in Drawing for Fine Art Practice at Oxford Brookes University, where I developed a strong foundation in observational drawing, spatial awareness, and conceptual development. This course introduced me to a range of traditional and experimental techniques and laid the groundwork for my interest in capturing place, narrative, and surface through mark-making.
Following my undergraduate studies, I went on to complete an MA in Multidisciplinary Printmaking at the University of the West of England (UWE), Bristol. This postgraduate course was pivotal in deepening my technical knowledge across etching, monotype, and lithography, and enabled me to push the boundaries of how printmaking can be used as a contemporary tool for storytelling and research. The course encouraged critical reflection and professional development, equipping me with the skills and confidence to develop a strong personal voice and exhibit nationally.
My education has played a central role in shaping my current practice, which is rooted in drawing and expanded through print. Both degrees have allowed me to evolve a research-led, process-based approach to documenting landscapes in flux.
Yes, I have received several professional grants and awards that have significantly supported the development of my artistic practice and research.
I have been awarded three grants from the Elizabeth Greenshields Foundation, which have enabled me to sustain and expand my work in drawing and printmaking, supporting both studio time and materials over several years. I also received a major award from The Queen Elizabeth Scholarship Trust (QEST) to support a research fellowship at the City & Guilds of London Art School, where I deepened my knowledge of traditional and experimental print processes within a contemporary context.
Most recently, I was awarded funding from the University of Bristol to undertake a research fellowship within the Earth Sciences department. This opportunity has allowed me to investigate environmental change through a scientific and artistic lens, enriching my landscape-based work and broadening the interdisciplinary reach of my practice.
In addition, this year I have received small grants from the Gane Trust and the Eaton Fund, which have supported the purchase of art materials for upcoming exhibitions.
These awards have not only provided essential financial support but also opened valuable networks, enabling me to take creative risks, produce new work, and share my practice more widely.
Yes, I am actively involved in creating and organising professional opportunities through artist-led initiatives and self-initiated projects. In 2016, I co-founded the Bristol Print Collective, a community-focused group that delivers workshops, exhibitions, and events to promote and celebrate printmaking. This collective has grown into a platform for both emerging and established artists to share skills, collaborate, and engage with wider audiences.
I also curate and coordinate pop-up exhibitions and print fairs—most recently at Centrespace Gallery in Bristol—creating opportunities for artists to present and sell their work in accessible, community-driven environments.
Alongside this, I continually develop personal projects by seeking funding to support in-depth, research-led work. A recent example includes being awarded a DYCP (Developing Your Creative Practice) grant to undertake a project exploring clay quarrying in St Austell, Cornwall. This project allowed me to document industrial extraction sites while working in collaboration with Nantgarw Chinaworks in Wales, where I produced ceramic ware using traditional techniques. The project brought together heritage industrial processes and contemporary practice in a meaningful way.
I also lead creative retreats and workshops that combine walking, drawing, and printmaking—spaces that allow both myself and others to experiment and reflect outside of conventional studio settings.
I have been fortunate to receive a commission from a public institution that has significantly shaped my artistic practice. This was for a redevelopment project in Fishponds, Bristol, where I was invited to collaborate on designing a 600-meter hoarding for a major site redevelopment. This commission involved working closely with the local community and stakeholders to create artwork that reflected the site’s changing environment and history, while also connecting to broader themes of habitat and landscape transformation.
This experience deepened my understanding of how public art can engage and inspire diverse audiences, encouraging a dialogue between place, people, and artistic expression. It also challenged me to balance artistic ambition with practical considerations such as durability, visibility, and accessibility. Through this project, I refined my approach to large-scale printmaking and site-specific work, exploring how etching and print techniques could translate effectively into public visual narratives.
Overall, working with public institutions has been invaluable in developing a responsive, collaborative, and context-sensitive artistic practice, which continues to inform my work exploring landscapes in flux and the fragile beauty of change.
Yes, my artwork has been acquired by several prestigious public and private collections, which I consider a great honour and important recognition of my practice. Notably, my work is included in the collections of the Victoria and Albert Museum (V&A) and the Ashmolean Museum, as well as the Royal West of England Academy (RWA), where I am an Academician. Additionally, my work is held in the Clifford Chance corporate collection, alongside other private collections.
The pieces acquired by these institutions reflect my ongoing exploration of landscape, change, and the passage of time. Using etching and aquatint techniques, my prints capture the fragile beauty of environments in flux, often emphasising contrasts between light and shadow to evoke themes of decay and transformation.
Having my work housed in such renowned public and private collections has allowed a broad and diverse audience—including visitors, students, researchers, and corporate viewers—to engage with my art. These acquisitions have also facilitated opportunities for exhibitions and thematic shows, enriching conversations about the relationship between humans and their environment.
Being part of these collections is incredibly rewarding, as it ensures my work is preserved and accessible for future generations, contributing to the cultural heritage and visual narrative of contemporary landscapes.
Yes, my artwork has been reviewed and featured in a variety of respected art journals, magazines, newspapers, and online curated platforms. My exhibitions and printmaking projects have attracted attention for their exploration of landscapes in transition, ruins, and the delicate interplay between nature and human impact. For example, my solo show Stones and Power received coverage in regional art publications and local newspapers, highlighting the themes of decay and resilience in my work.
Additionally, my work has been featured in specialist printmaking and art magazines such as Evolver, Jackdaw, Pressing Matters, and Printmaking Today. These publications have showcased my technical use of etching and aquatint, emphasising how I translate complex ideas about change and fragility into visually compelling narratives.
Online art platforms have also featured my work, helping to broaden my reach to international audiences and fostering dialogue around the significance of place and memory in contemporary art. This exposure has been invaluable in connecting with fellow artists, curators, and collectors, situating my practice within ongoing conversations about landscape, heritage, and environmental change.
I am represented by two prestigious galleries through my affiliations with respected art institutions. I am an elected member of the Royal Society of Painter-Printmakers (RE), which grants me representation at the Bankside Gallery in London. This association offers a significant platform to exhibit my printmaking work alongside other accomplished artists in a highly regarded venue dedicated to contemporary print and watercolour art. Bankside Gallery provides excellent exposure to collectors, curators, and the wider public, helping to elevate my practice within the printmaking community.
In addition, I am an Academician of the Royal West of England Academy (RWA), which includes representation at the RWA Gallery in Bristol. This gallery supports my work through exhibitions and events that celebrate the diversity and quality of art produced by RWA members. The RWA Gallery also enables me to engage with local audiences and connect with fellow artists and arts professionals within the region.
Together, these gallery representations strengthen my professional profile, offering opportunities to showcase my work regularly, participate in group and solo exhibitions, and maintain an active presence in the UK’s contemporary art scene. Both galleries play a vital role in supporting and promoting my artistic career.
I have taken part in several recognised residencies and artist placement schemes that have been vital to my artistic growth. One key residency was a three-month placement for The Lodge Project in the Peak District, Wirksworth, where I explored themes of ruins, landscape, and the passage of time through etching and printmaking. This immersive experience allowed me to develop a deeper connection to environments in flux.
Additionally, I completed month-long residencies at Funen Graphic Studio in Denmark and Scuola Grafica in Venice. At Funen, I refined my printmaking techniques while engaging with an international artistic community. In Venice, I responded directly to the city’s unique atmosphere and history, exploring landscapes shaped by natural and human forces.
I was also artist-in-residence at Bristol University’s Earth Science Department, which offered a valuable opportunity to collaborate with scientists and incorporate geological perspectives into my work. Furthermore, I was also a fellow at City and Guilds of London Art School, a position that supported my ongoing development within a academic and artistic community.
Together, these residencies and fellowships have provided dedicated time, space, and diverse contexts to expand my practice, foster connections with place and people, and deepen my engagement with printmaking and environmental themes.
Email: jemma_gunning@hotmail.co.uk
Address: 118 Richmond Road, First Floor Flat, Bristol, BS6 5ER, GB
