Simon Attwood Lithographs and Lino Cut Prints

Simon Attwood (b.1997) is a young artist interested in the plants, trees, wild animals and landscapes of Mpumalanga. Attwood collects skulls, snares and skeletons of animals found during anti-poaching work and includes them in his subject matter. He has a keen interest in the indigenous plants and trees of Ehlanzeni which strongly inform his imagery.

He engages with a variety of media including works on paper, charcoal-making, bronzes, fibres, animations and paintings. Linocut is his favourite printmaking technique. He has returned to and developed his use of the medium since first getting excited about it in high school.

He completed his Bachelor of Fine Arts in Studio (with distinction) from the School of the Art Institute of Chicago, USA in 2022.

Attwood has recently exhibited work locally and internationally in the SAIC FALL 2021 Undergraduate Exhibition, Artbash 2018 in Chicago, USA and the Diaspora exhibition at the White River Gallery in Mpumalanga, South Africa.

Watch Simon Attwood's animations: The Scavengers of a Broken Country, Milk the Snake, Flight Path and others

Watch Simon Attwood's animations:

The Scavengers of a Broken Country, Milk the Snake, Flight Path and others

Simon Attwood's Website

Simon Attwood's Print Archive

New Editions from The Artists' Press

Artists A - L (listed by surname)

Artists M- X (listed by surname)

For orders (with free shipping) or any other enquiries, please contact us.

Title: Scurry
Medium: Single colour linocut
Paper size: 57 x 76 cm
Edition size: 25
Price: R 3 595 (excl. VAT)

"Scurry is an extension of my previous linocuts, Spotted and Constellation. As part of my degree, I have been studying rock paintings in Mpumalanga. During the pandemic, I visited a rock art site with my mother. Upon entering the shelter she asked me if we would run into any porcupines and I reassured her we would not, considering that I have never seen them on foot. Moments later a mother porcupine and its offspring came scurrying out from a tunnel under the rock. Fortunately, they ducked back into another burrow instead of picking a fight with us. This linocut is a meditation on that experience. There is so much we think we know, but often what we think will happen is not very accurate. The porcupine embodies this. With putting camera traps up on our property some unexpected visitors included a pair of porcupines. The image that this linocut is based on was taken with a camera trap in the reedbed of a river near where I live."
Simon Attwood, 2021

Title: Spotted
Medium: Single colour linocut
Paper size: 54 x 105 cm
Edition size: 25
Price: R 3 840 (excl. VAT)

"In this linocut, I have continued my exploration of infrared camera trap imagery, which translates well into the medium of relief printing. The title ‘Spotted’ is a play on the physical appearance of a genet’s pelt and the mark-making technique I used to create the piece. For this print, I chose an image of a large spotted genet from Eswatini, that I photographed using a motion-triggered camera trap when I was studying there. This linocut is a small celebration of the wildlife that lives around oneself, unnoticed most of the time. Until I started using camera traps to see what walks around at night, I had no idea of the number of genets and other nocturnal creatures that lurk in the shadows of the spaces we inhabit." Simon Attwood, 2021

Title: Constellation
Medium: Single colour linocut
Paper size: 57 x 76 cm
Edition size: 25

"Constellation is a print of a side-striped jackal. The reference that I used to compose the piece came from an image of a jackal caught on a camera trap at night near my family’s home in Mpumalanga. I had fun with the interaction between light and dark in the composition, using white points against a pitch black background to reveal an animal’s accidental self-portrait. The photograph that this image comes from is also important to me because I shared it with my grandmother before she died. She was delighted with the ghostly image of this sly nocturnal canine. After her death, I composed this linocut as a way of tying up an important chapter in my life and of sharing an image that I delight in. Upon close inspection, the creature fades into a fictional constellation of stars just as memories of my grandmother fade into a nonsensical constellation of highlights upon close inspection."  Simon Attwood, 2020

Title: Skinner
Medium: Five colour lithograph
Paper size: 43 x 29.8 cm
Image size: 35 x 25.5
Edition size: 25
Price: R 3 210 (excl. VAT)

"Skinner is a metaphorical self-portrait. Outside of making artworks, I often spend time scavenging and collecting the remains of dead creatures. These remains are precious to me and are symbolically significant because they previously held the life and consciousness of another being. Some of the bodies that I find are fresh, casualties of snares left by poachers or of collisions with reckless drivers. In these cases I often peel off the pelt and preserve it in an act of tribute to the beast that once occupied it. In this print I look at the act of skinning both literally and metaphorically as a way of forming my identity and of paying a visceral tribute to the past." Simon Attwood, 2020

Title: Point of Disorder
Medium: Eight colour lithograph
Paper size: 64 x 85 cm
Image size: 57 x 77.5
Edition size: 25
Price: R 5 100 (excl. VAT)

"I had several concerns that were at the back of my mind while making the print. These concerns carried on looping back to the idea of morality and limits. "Point of Disorder" alludes to the heavily used phrase 'point of order', words that are issued after a tipping point has been reached in parliamentary meetings. I am more interested in the 'point of disorder' itself, the point at which chaos wins, the point at which the tables turn and a moment in time when the laws of nature take over the laws of humans. I also pose a series of questions with this work: at what point does an action become immoral? Where is the line drawn? Is eating meat moral? If yes, is hunting moral? If yes, is hunting to extinction moral? We often draw the lines at questionable places and the lines of this image question those decisions.The choice of the dark-capped bulbul head is symbolically important to me, it is the bird that alarms other birds to the presence of a snake. Growing up, I learnt to be cautious of its racket. The bulbul is symbolic of warning and danger".
Simon Attwood, 2019

Title: Cable Ghost
Medium: Cliché verre chine collé lithograph
Paper size: 44.2 x 34 cm
Image Size: 33.7 x 26.2 cm
Edition size: 15
Price: R 2 310 (excl. VAT)

This print refers to the snares that are constantly set by poachers in the veld and which Attwood finds and removes as often as he can. Sometimes he is too late and the animal has rotted away, leaving it’s bones behind.

Title: Poacher's Adversary
Medium: Maniere noir lithograph
Paper size: 39.5 x 48 cm
Edition size: 45
Price: R 2 030 (excl. VAT)

“Trees are an important part of the landscape that I call home. I spend hours exploring the veld and enjoying their presence. Sometimes these hours are interrupted by the discovery of snares set by clandestine poachers. After the snare has killed its catch, the body lies there for hours. During this time vultures and other scavengers can reclaim that which is naturally theirs. The vulture is the poacher's adversary. It can alert authorities to the presence of a poached animal and can also steal back that animal. This print pays tribute to the work of the vulture and the magnificence of its perch, a weathered Marula tree." Simon Attwood, 2019

Detail of Poachers Adversary showing vulture profile.

Title: The Last Laugh
Medium: Single colour linocut
Paper size: 75 x 106 cm
Edition size: 10
Price: R 4 050 (excl. VAT)

Title: King Liar
Medium: Single colour linocut
Paper size: 38 x 46 cm
Edition size: 20
Price: R 1 350 (excl. VAT)

Title: Growth of the Mind
Medium: Hand coloured linocut
Paper size: 56 x 77 cm
Edition size: 100

Title: Stuart Trent
Medium: Single colour  linocut with hand colouring
Edition size: 1
Commissioned by Stuart Trent for his collection of portraits 2018.

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