At Edinburgh Printmakers’ recent Members Show, Hope/Dòchas, artist Scott Baxter was awarded the EP Members' Show Award for his thought-provoking installation Flotilla. The exhibition invited members of our Print Studio to submit work reflecting on the theme of hope, and Scott’s work stood out to the selection panel for its innovation, conceptual depth, and technical ambition.
His installation consisted of 17 paper boats, each crafted from screenprinted newspapers. In Flotilla, Scott subverts the alarmist headlines of tabloid newspapers, transforming them into symbols of hope—small vessels that evoke the perilous journeys undertaken by refugees fleeing persecution. The selection panel was drawn to the way Scott expanded the boundaries of printmaking by turning printed material into a sculptural form, making the medium an integral part of the message.
Winning the award came at an important time for Scott. After a busy period in 2023, where he exhibited extensively in London, 2024 proved more challenging. Receiving recognition from the Members Show was a significant boost to his confidence and reaffirmed the value of his artistic practice.
“The award came at a really good time for me,” Scott reflects. “It gave me a push to trust myself more, to realise that what I do is relevant and that people understand and support it. That was massive.”
As part of the award, Scott had the opportunity to join a course of his choosing from Edinburgh Printmakers’ extensive education programme. While his recent focus had been on three-dimensional printmaking, he was drawn to the highly technical aspects of etching. His interest in process-driven methods led him to Bronwen Sleigh’s Archiving Architecture course, which explores the built heritage of the local area through multiplate etching. This was a new course developed as part of Edinburgh Printmakers project Castle Mills: Then & Now, supported by the National Lottery Heritage Fund.
Interestingly, Scott has a background in architecture, though he had consciously distanced himself from it when he transitioned into fine art. “I’d always kept architecture at arm’s length, making sure it didn’t cloud my artistic practice,” he says. “But I saw Bronwen’s course and thought, maybe it’s time to put those demons to bed and see how architecture and fine art could come together in my work.”
The course provided Scott with a fresh perspective on printmaking.
“It made me think about space in a different way—how to represent three-dimensional space on a two-dimensional plane,” he explains. His experience with screenprinting had largely been focused on flat images, but etching allowed him to explore depth, texture, and the layering of tone and line in a way he hadn’t before.
Scott also found that etching encouraged him to return to drawing. “I’d become reliant on photo-based imagery in my screenprinting. But etching has pushed me back into my sketchbook, reconsidering how I approach mark-making.”
Scott’s experience on the course has had a lasting impact on his practice. It has encouraged him to explore new techniques, including papermaking and paper casting, which he believes will complement his interest in sculptural printmaking.
“This year is about experimentation—finding connections between drawing, object-making, and print. Whether my etching and sculptural work remain separate or start to merge, I’m excited to see where it leads.”
His exploration of materials and process is also extending beyond his studio. Scott has been in discussions with Edinburgh Printmakers about a potential project involving zines and sculptural print, further pushing the boundaries of how printmaking can be experienced.
With his recent recognition and newfound direction, Scott’s work continues to evolve in exciting ways. His journey is a testament to the power of printmaking as a medium that extends beyond the page, into space, structure, and meaning. We look forward to seeing where this experimentation takes him next.
