"digital image-making does not replace earlier practices but one might argue that it clarifies their underlying grammar" As someone who started using digital processes back in the early 90’s, for image making and printing, the relationship between these new technologies and the traditional process of applying paint to surfaces , or traditional methods of printing has fascinated me. I think I picked up the move from one to the other quite intuitively and was sometimes surprised at the reaction of other artist painters who felt I was doing something quite alien to the’ hands on ‘ methods they themselves used. Digital technologies are often thought of as a rupture in the history of image-making: a decisive break from the tactile, material, and time-bound practices of painting and traditional printmaking. Yet such a description can risk overstating the novelty at the expense of continuity. Rather than introducing an entirely new visual language, digital processes can be understood as making explicit a set of procedures that have long structured artistic practice. I partially covered this recently when describing the making of a series of digital prints inspired by Rembrandt's The Three Crosses. So how does digital seem so strange yet also so familiar ? At the core of digital imaging lies discretisation — the breaking down of a continuous visual field into finite units. This is commonly associated with the pixel, but it is not unique to the digital. Painting has always been composed of marks: brushstrokes, dabs, lines, passages. However fluid they appear in the finished image, these marks are applied sequentially, accumulating through decisions that are inherently discrete. Pointillism made this condition explicit, but it is present in all painterly work, even where the illusion of continuity is carefully maintained. Printmaking extends this logic further. Relief, intaglio, and planographic processes operate through a fundamental binary: ink or no ink, impression or absence. Tonal variation is achieved not through continuous modulation but through density, repetition, and pattern. Engraved cross-hatching, woodcut textures, and ...Cont in comments

What remains of the Descent when all context, place, and time have been stripped away relocated to the beyond of space. This is a digital print about 100cm wide on William Turner Cotton rag paper #space #spacetravel #crucifixion

In my recent print series, influenced by Rembrandts 'The three Crosses' the third State is the most significant for me . This one echos a early state of the Rembrandt, an impression held by the Ashmolean Museum—in which in the lower right-hand corner (see 2 image) appears to show the mouth of a cave, which I take to be the tomb where the dead Christ is be taken to. In my version, we are placed inside that cave, looking outward towards the crucifixion. On the cave walls are early marks of human imagination, alongside a scattering of toys—objects my own children once played with, inventing worlds and navigating life. These elements point to the same imaginative impulse that gives rise to art and religion alike: a human need to make meaning, to construct stories, and to understand our place in the world.#rembrandt #royalsocietyofpainterprinters

My Old friend. For the atheist in me and those who devour God

I've posted here the six of the states of my 'three crosses' and a brief description of the making of them. This set of prints grew out of a long-standing fascination with Rembrandts' drypoint The Three Crosses. First worked on in the 1650s and then extensively reworked during the 1660s, the plate exists in a number of markedly different states. I first encountered it in the Prints and Drawings Room at the British Museum, where two states were displayed side by side. Seeing those differences at close hand made a lasting impression. It is the later, heavily reworked states that have provided my principal point of departure. What strikes me most about The Three Crosses—beyond the power of the imagery itself—is Rembrandt’s approach to printmaking as a painterly process. Printmaking is often understood as a means of producing consistent editions, allowing an image to circulate widely and generate income through repetition. In this case, however, Rembrandt seems to set that logic aside. Rather than preserving the plate in a stable form, he repeatedly reworks it, treating the copperplate as something provisional and alive. The result is not a uniform edition, but a sequence of states, sometimes radically different from one another, that record the image in flux. This way of working resonates strongly with my own practice as a painter. I often revise a painting multiple times, occasionally painting out everything I have done—even passages I value—in order to reach something new. A finished work may contain many earlier versions concealed beneath its surface. Rembrandt’s handling of The Three Crosses suggests a similar understanding of making: that the evolution of an image, with all its hesitations and transformations, is integral to the work itself. In his case, printmaking became a means of preserving those stages of change. This idea also connects closely to my practice as a digital printer. Digital tools allow a work to be saved at every stage of its development, so that a single image can easily generate multiple versions.( Continuous in comments ) #royalsocietyofpainterprintmakers

I now have Six states in total of The Three Crosses (after Rembrandt) printed on Kizuki Kozo . #royalsocietyofpainterprintmakers #materialitymatters #rembrandtetching

Here I am, Pisst off of Peckham. Photo by the great south London photographer Phil Polglaze outside www.dulwichprintsandprintong.co.uk I think Phil has photographed everyone in south London (if he missed you let him know) including things like all the PV and events at South London Gallery in the 80's and 90's If you were around in those daze You can check the catalogue at SLG see if your in them. https://slgarchive.org/index.../photographs-by-phil-polglaze #southlondongallery

Another new one from the series The Three crosses (after Rembrandt) 0n Kozo paper 60x62cm #royalsocietyofpainterprintmakers #digitalprint #rembrandt

A decent photo now of possibly the 'darkest ' of the series so far 4th state The Three crosses (after Rembrandt) 0n Kozo paper 60x62cm #royalsocietyofpainterprintmakers #digitalprint #rembrandt

My most recent and darkest of this print series #royalsocietyofpainterprintmakers #materialitymatters #rembrantetching

Finally got a decent photo of this , from the three crosses series , this is the second state, Pigment print on Kizuki Kozo. As with the Rembrandt etching/drypoint in which he produced a number of different states from the same plate, I am producing a number of different states generated from the same digital file . paper size 60x62cm. #printroom #rembrantetching #royalsocietyofpainterprintmakers

Can you spot the one artwork in my studio that's not by me? #royalsocietyofpainterprintmakers #artistsstudio

Peckham / East Dulwich London today

A new one in progress this is a Working proof. Again one of the inspirations is Rembrandt's series of changing states of a print ' The Three Crosses. One of the early States of his print , which I think is in the Ashmolean museum , has in the bottom right hand corner what looks like the entrance to a cave, this I assume is to be the tomb for the dead christ. In my version here we are inside the cave looking out to the crucifixion, on the walls are early works of the human imagination, and also a few toys , toys my own children played with and made worlds with. Approx. 40x40cm on japanese paper I always show a photo of the actual print. #royalsocietyofpainterprintmakers #caveart #rembrandtetching

Now the third in the series , showing all 3 here, of The Three Crosses, after Rembrandt. Pigment print on Japanese kizuki Kozo. A fourth is on the way.

Mixed up in my head is the image of Christ rising from the tomb, and the Tomb is also a Cave (as we can see in some medieval paintings of Jesus) and the cave has cave art on it, and the view is from the inside of the cave , sometime jesus is reading Karl Marx as he is rising up, to show that time can be what you like in art, and that the cave images are very much related to all the imagery of jesus as its all part of the human imagination. and all the animals come to life The cave images are what I call my Rosebud pictures , if you know the film citizen Kane you will know what I mean. Sometimes things you do later in life, the things that drives it and sometimes the thing that drive it , (although not the thing that necessarily gives it any value) , can be something from childhood. for me it was a picture I made in primary school for the school art competition , my dad who was in the building trade (although not a tool maker) didn't really think about art but he went and bought me a roll of lining paper and some charcoal, on which I drew a quite large, as I remember it, scene of a cave and cavemen , women and children, viewed from the inside, this was my Rosebud. A few samples of paintings drawings here , you may have seen before , a few now sold. #citzencane #caveart #karlmarx

The three crosses (after Rembrandt) this is the third state , so a new edition on Japanese Kozo paper . If you would like to come and view let me know. The second state on show soon at Bankside Gallery London. #royalsocietyofpainterprintmakers

Jesus rises up from the Tomb reading Karl Marx 55x41cm paint on paper

Found this old print recently, 2006, one of those forgotten things, only one , liked it, quite small image 23cm paper, approximately 30cm. It's the only one in existence because at the time I thought it was crap, now I like it. That's a strange thing. Does that happen to you? #printmakersofinstagram #royalsocietyofpainterprintmakers

The Three Crosses After Rembrandt, Here now are the first and the second state of what's going to be (hopefully ) a series of prints using Rembrandt's set of dark and heavily worked drypoints as a starting point. I'm printing on kizuki kozo , a beautiful handmade Japanese paper. Rembrandt was known for using Japanese papers for its fine surfaces and warm tones. A number of early impressions of the three crosses were on Japanese paper.

See my work in 'The Director's Cut' Woolwich Print Fair online Gallery. Copy and paste link and your there. https://woolwichprintfair.com/directors-cut-25/p/in-the-garden-53242 #woolwichcontemporaryprintfair

Just realized never posted this little one Insta before . ‘Resurrection of the Black Dog’ 31x24cm . Its only had one airing at Studio1.1 Gallery Members show. (It almost sold) #studio1.1gallery

Paint and Print on polyester film. 180x150cm Title . 'Transcending Species' #materialitymatters

In the Garden of Love , from the Song of Solomon series . Digital print on transparent film with Gold paint and hand finish 65x85cm. I like to defy the idea that digital print is just flat and without surface qualities. Printed on transparent film the ink lays raised on the surface, paint is applied to the rear of the clear film and the front surface is hand finished. You need to see this work in the flesh. As shown in the exhibition Sex and Success in Sussex at @electro_studios_project_space #npavote2026 #NPAVOTE2026

Triumph of the Civilised . Digital print on Gold film 32x32cm

Donkey ride

From inside the Cave

Preparing the dead for burial ink and paint on paper

little biddy baby… #gaza #gazagenocide #warcrimes

Smoke and FIre

The fire on the Land speaks to the people on the Sea_39x54cm #alleyesondeck

This work addresses materiality through a paradoxical lens: a digital print — typically associated with the immaterial and ephemeral — is reclaimed as a tactile object through both image and intervention. The scan of the hand, often a symbol of agency and touch, asserts presence through visual detail. Yet it is the chalk inscription — drawn by the same hand — that loops the act of creation back into the image, collapsing representation and action. By adding chalk directly onto the digital print, the surface is activated. The drag of the chalk against paper becomes visible, reintroducing texture and a sense of objecthood to the digital. The piece asserts that even in our increasingly digital world, the body leaves traces, and the hand remains central to how we understand, feel, and claim the physical. Hope you like it. Pigment print with chalk on Somerset deckled edge 76x86cm paper size. #MaterialityMatters

Painted this one when 16/17 years old (1970's) I can remember painting it on the kitchen table . 60x50cm Last weekend of the artists open house @artistsopenhse please come along , https://dulwichfestival.co.uk/open-house/christopher-clack/ I was just remembering my thoughts on this image , I don't remember much from the past but I can vaguely remember what i was thinking when painting this. Firstly I had seen some Paul Klee books in the school library and this was influencing me , and the idea of a fake child likeness but more importantly the imagery , the house echoes the body, the sun the head and the flower , all connected and something flowing through them. these thoughts are really fundamental in some way to everything I've made since. Funny that. #artistsopenhse

Come along and see I'm in this with many other printers until Sunday 8 June link to artworks here https://www.yumpu.com/.../re-original-prints-2025-catalogue #royalsocietyofpainterprintmakers re_printmakers

the burial Shireen Abu Akleh,

#dulwichartsfestival #artistsopenhouse

I now have just two of these acrylic box frames left 114x95cm (1) £30 each 108 x78 (1) £20 each leave a message if interested I have some Acrylic Box frames all quite large in good condition no scratches, the backing supports have some marks but this is generally covered by the artwork. Some of these are now sold I have two left Sizes 128x100cm (3) £40 each Now SOLD 114x95cm (1) £30 each 108 x78 (1) £20 each 102 x78 (2) £20 each Now SOLD the one shown is the large size was in the RA summer show a few years back #AcrylicFrames Edited · 22w

Come along to my open House event part of Dulwich Arts Festival link for info or link in bio https://dulwichfestival.co.uk/open-house/christopher-clack/

Started some hanging for the Artist Open House #dulwichfestival Bulldozers and Digger's

So never thought of doing this but someone else did, they put my image “Gerald Winstanley digs manure into the foot of Christ' and title into GPT for an analysis. See full Interpretation with image. #chatgpt #christiansocialist #diggers

FREE framed print! The a study for a much larger work (see the second image) made in the 90.s Its FREE if you want it, having a clear out and some framed things are going! Its editioned and signed but got to get rid of stuff now! Image size is 26x43cm Digital Collage London based for collection I forgot to say its called 'Dascent 'as its both a Descent and an Ascent. The piece I'm giving away was study for a larger piece exhibited at St Marylebone Parish Church 2014 see second image image DM if interested. #free

See this print and much more at my Open Studio as Part Of Dulwich Festival See the Link https://www.instagram.com/artistsopenhse/

In the Garden. From the series Song Of Solomon. Print on Japanese kitzuki Kozo 62x50cm Edition of 50 #reprintmakers #banksidegallery

'If' Pigment print on gold film 43x47cm #digitalprint #royalsocietyofpainterprintmakers

Burning Bulldozer. Digital Pigment print on gold film #royalsocietyofpainterprinters

'Civilisation' Print on gold film 29x40cm #royalsocietyofpainterprintmakers

'Breathe' Now available as a limited edition print of 50 Pigment print on gold paint image 24x19cm approx. supplied in window mound 30x 17cm £100 plus postage. Any questions feel free to DM #royalsocietyofpainterprintmakers

'Breathe' Pigment print on gold paint 24x19cm approx.

In the garden. From song of Solomon. Pigment Print #royalsocietyofpainterprintmakers

Ink and paint on paper 50x35cm

Ink and paint on paper 55x42cm

Figure praying in a structure (unfinished)

Burning Bulldozer 50x36cm paint on paper

I have some Acrylic Box frames all quite large in good condition no scratches, the backing supports have some marks but this is generally covered by the artwork. Some of these are now sold I have two left Sizes 128x100cm (3) £40 each Now SOLD 114x95cm (1) £30 each 108 x78 (1) £20 each 102 x78 (2) £20 each Now SOLD the one shown is the large size was in the RA summer show a few years back #AcrylicFrames

I will have a 'Red Thing' in this #digitalpainting #digtalprinting #royalsocietyofpainterprintmakers

Really difficult to photograph this one. But lets see what you can make of it. 'A terrible situation' 39x56cm ink and Gouache on paper

'Last Supper' Gouache and Ink on paper 35cm x 40cm

What was going on when i was first making art, that is, as a student and just after. One thing was sort of driving it, the feeling of the mediated nature of our experience. Lots of my work was based around that feeling , and I say feeling because it was not something that came to me in an intellectual sense, the feeling that we are not able to be in direct contact with things , that the world is forever out of reach that we are permanently cut of from that world and others in that world. That everything we know is mediated. this thought dominated everything. I now feel this not to be true and it changes things. Examples of some work from those days. #oilpaintings #scupltures #studentworks

Study for 'Burial' 45x33cm paint on paper #contemporarybritishpainting

'Bulldozer' 62x46cm paint on paper 2024 #contemporarybritishpainting

Just SOLD and on its way Poland. From inside the Cave ‘ Jesus is lifted up and becomes part of the creative world of great images' 48x65cm ink and paint on paper. #dulwichfestival #dulwichartistopenhouse https://dulwichfestival.co.uk/openhouse/christopher-clack/

Just made a little something extra for the weekend. The Dead Rise Up Gouache on paper 55x42cm Please come along to this years Open House as part of Dulwich festival. this sat and sun 18-19may Follow the link for Map and further info https://dulwichfestival.co.uk/openhouse/christopher-clack/

Today Trains are running from London Bridge 15 mins to East Dulwich. Buses 185,176,40,42, all stops 2 and station mins away. Visit today!🙂#dulwichfestival #artistsopenhouses

'SOLD' Jesus rises from the tomb reading Karl Marx The Communist Manifesto while others around him sleep. https://dulwichfestival.co.uk/openhouse/christopher-clack/

As part of Dulwich arts festival Painting, sculpture, digital art and photography. All welcome. #dulwichartistsopenhouse #dulwichfestival

Drawing . pencil on paper 55x40cm #drawing

'Jesus rises from the Tomb while the Soldiers sleep' pencil on paper 2024

Drawing Pencil on paper 2024 #worksonpaper #drawing

'From inside the Cave' Paint on paper 65x45cm #painting #paintingonpaper #contemporarypainting

study for 'Dead' paint on paper 35x35cm #painting #contemporarypainting #religiouspainting

'Figures beneath a Blue Cross' paint on paper 35x35cm #painting #contemporypainting

'In the garden' My print entry for the Summer Exhibition. edition of 50 Pigment print on gold film with hand finishing. 75x50cm Wish me luck #rasummershow #digitalprint #songofsolomon

'What is the Truth' Paint on paper 35x58cm #painting #contemporarybritishpainting

'In the Imagination our God resides (In God we are imagined)' Digital print on metallic film floated over A3 laid paper with digital print. #digitalpainting #contemporyprintmaking #religiousart #mysticalart #royalsocietyofpainterprintmakers

Digger digs a Hole' . paint on paper 40x60cm #painting #contemporypainting

Paint on paper65x45cm #painting #contemporypainting

Paint on paper. 36x52cm #painting #contemporarybritishpainting #religiousart

'Three crosses' Paint on paper 55x45cm #painting #contemporarybritishpainting

'From Inside the Cave' paint and Ink on paper 48x59cm #painting #contemporypainting #religiousart

'Digger' Paint on paper 55x45cm 2023 #painting

Fire. As teenager I suffered from a number of recurring dreams or nightmares. This one, short but ominous starts with me standing in what seemed likes a sandy dry and barren landscape , sand and dried mud, to my left and right I could see what looked like a bank or wall but far off in the distance . Then I would notice what seemed like a small trickle of a stream , in the middle of this wasteland, I looked up to see the direction of the flow of water , in the distance I can see a bridge and then realize I am standing in the middle of the river Thames , the bridge ahead is on fire , I look downstream in the distance another bridge is on fire . I realize I can now see fire in all directions , but very far off . the distances are vast. I wake up. Image 1. Fire on the shore speaks to the people in the Boat. Image 2 'From inside the cave. Figures dance in the Heat. The animals are terrified'

'The Fire on the land speaks to the people in the Boat' 52x38cm paint on paper 2023 #painting

Hi all , I will be taking part in the International original print exhibition, run by the royal Society of Painter Printmakers. Details on flyer. I will have two pieces in the Exhibition. The ‘Unnamable’ that’s (the one with the finger ) Pigment print on Somerset deckled edge paper with hand finish 60x80cm framed size. Study 1 Part 1 Pigment print on rag paper. 65cmx80cmframed size I hope you make it along to the exhibition. #reprintmakers #banksidegallery #originalprint

Blue-Tac Christ 40x50 cm Archival pigment print on Kizuki Kozo paper. Each print is part of a limited edition of 30. Plus 2 artist proofs. Prints are £200 each plus delivery. This is a pigment print on an uncoated Traditional Japanese paper (washi) paper . Unlike a standard inkjet print the ink is not laying on the surface but sinks into the paper surface which give the image a slight softness revealing the beautiful surface of the paper itself. A detail image of the print surface available on request. Traditional Japanese papers (washi) are made from Kozo, Gampi and Mitsumata fibers. (thanks to @paulwinstanley54/ for paper suggestion😊 #fineartprints # #religiousartwork #radicaltheology #royalsocietyofpainterprintmakers

Prehistoric cave artists make stuff while jesus rises out of the Tomb. Drawing. Pencil on paper. 47x55cm 2023 #radicaltheology #drawing #painting #art #christian #socialism #photography #faith #communism #illustration #artist #love #relgious #bible #revolution

Drawing. Pen and Ink on paper. 37x50cm 2023 #radicaltheology #drawing #painting #art #christian #socialism #photography #faith #communism #illustration #artist #love #relgious #bible #revolution

Drawing. Pen and Ink on paper. 37x50cm 2023 #radicaltheology #drawing #painting #art #christian #socialism #photography #faith #communism #illustration #artist #love #relgious #bible #revolution

Just SOLD another one today as a result of last weeks open house #artistsopenhse https://dulwichfestival.co.uk/ #painting 'From inside the cave, Figures stand around a cross' Paint and indian ink on paper

Thanks to all who came to see my work at https://dulwichfestival.co.uk/openhouse/christopher-clack it was a new experience for me to have a lot of interest in the work , and to sell so many (for me ) pieces , 3 paintings and 6 original prints see images of the items sold. #dulwichartistopenhouse #dulwichopenhouse #dulwichfestival #artistsopenhse #contemporyprintmaking #digitalprint 1w

Last chance to see then I go back into my cave! this weekend 20-21 MAY https://dulwichfestival.co.uk/openhouse/christopher-clack #dulwichartistopenhouse #dulwichopenhouse #dulwichfestival #artistsopenhse #photography #contemporyprintmaking #digitalprint 'From inside the Cave ‘ Jesus is lifted up and becomes part of the creative world of great images. 48x65cm ink and paint on paper. Recent drawings and paintings are influenced by religious painting but also by a childhood memory of a drawing I made at primary school for a competition. I drew a scene of prehistoric cave people, viewed from inside a cave. The entrance to the cave had some figures coming back from a hunt carrying a dead animal, I remember a fire on the ground, a woman, and children. My father had been out and bought me a roll of wallpaper to draw on (He was in the building trade) and suitably box of charcoal. I recall the drawing being quite large filling up a section of the roll. I won the competition but never got to collect the prize as I had come down with chicken pox, which made me feel very ill and delirious. The image seems very fundamental to me. The Inside and outside of the cave, the fire, the dead animals, a way of existing. #prehistoricart #drawing #religiousart #contemporaryartist #painting

So Jesus and the disciples are in trouble, it’s the Sabbath, and they have been munching on wheat as they walk through a field. Jesus shows the Pharisees a copy of ‘a critiques of Hegel’s Philosophy of right’ by Karl Marx, and quotes from it “ Man does not exist because of the law but rather the law exists for the good of man” they are quite surprised at this and so is Jesus.🙂 Come to https://dulwichfestival.co.uk/openhouse/christopher-clack/ its the last weekend #southwarkcathedral #artistsopenhse #dulwichfestival #morphe_arts #morphearts #Christiansocialists #radicaltheology #theologicalart #painting #drawing #religiousart #karlmarx #christiansocialist

'The Tourists Hotel Paris' Limited Edition Photographs £100 (2 SOLD) come and see one this weekend. Continuing Open House 20-21 MAY https://dulwichfestival.co.uk/openhouse/christopher-clack/ #dulwichartistopenhouse #dulwichopenhouse #dulwichfestival #artistsopenhse #photography #digitalprint

Continuing today new work and old I will be showing these and much more at the Artists Open House 13-14 MAY & 20-21 MAY This image . The Tourists Hotel Paris. Photograph. https://dulwichfestival.co.uk/openhouse/christopher-clack/ #dulwichartistopenhouse #dulwichopenhouse #dulwichfestival #artistsopenhse #contemporyprintmaking #digitalprint

Come and see them I will be showing these and much more at the Dulwich Festival 13-14 MAY & 20-21 MAY https://dulwichfestival.co.uk/openhouse/christopher-clack/ #dulwichartistopenhouse #dulwichopenhouse #dulwichfestival #artistsopenhse #contemporyprintmaking #digitalprint

' For some reason I find no problem in painting an image of Christ on the cross. I make this because it seems to contain some truth, meaning, significance. It's not forced on anyone, it's there to absorb take in or not. It ceases to be an argument . We should give up on claims and make art. I'm not sure exactly what I'm saying, but somehow through art (and Idon't mean just for artists, art in a broad sense) the problem dissolves.' Blue Tac Christ Photo on Awagami Kozo uncoated paper aprox 30x40 cm Come and see me and my work at at the Dulwich Festival https://dulwichfestival.co.uk/openhouse/christopher-clack/ #dulwichartistopenhouse #dulwichopenhouse #dulwichfestival #artistsopenhse #contemporypainting #painting #digitalphotography