Terms & Conditions

  • Once your proposal submission is received, you will be sent an email to confirm receipt. If you do not receive a confirmation email within 7 days, please contact us to ensure your proposal has been successfully submitted. HKOP and IMPACT 11 team will not be liable for any non-arrival of proposal submission information.
  • If your proposal is selected, at least one representative from your group or organisation should be present at IMPACT 11 for the set up and presentation. If special arrangements or equipment is required, requests must be made clearly in the proposal submission for our consideration.
  • Registration fees should be settled via online payment. Cash and cheques will not be accepted. Registration will only be considered complete once the registration form and payment have been received. Payments not received in full prior to the event may result in entry being denied. No cancellation is accepted. Registration fees for IMPACT 11 are not refundable. If a participant is unable to attend and would like to transfer the registration to another person, approval will be determined by the HKOP & IMPACT 11 team on a case-by-case basis.
  • No responsibility is assumed by HKOP, the organiser or the speakers/authors for any injury and/or damage to persons or property as a matter of product, negligence or otherwise, or from any expectation regarding the event, use or operation of any methods, products, artworks, instructions or ideas presented at the event or contained in the notes.
  • By entering the event premises, you consent to being photographed or filmed by the HKOP and IMPACT 11 teams, and to the organiser’s use and publication of audio recording, video recording in any and all media for promotional and educational purposes. No recording or photography on the premises of the conference is allowed during the conference without prior written consent of the organiser.
  • In case of a person (delegate, exhibitor, visitor) infringing the overall interest/aim of the conference or infringing the interest of other delegates, companies or parties involved in the conference, the organiser is entitled to exclude the infringing person/company from the event after an oral or written warning by the HKOP directors show no adequate result. All respective costs in context of the infringement or exclusion are on the infringing person’s/company’s own responsibility. No liability in any way or any reason is taken by the organiser in this case.
  • Applicants are responsible for their own travel arrangements, including but not limited to flight and local transportation, accommodation, adequate insurance cover, as well as related visa procedures. Visa requirements for entry to Hong Kong vary according to the visitor’s country of origin.
  • While every effort will be made to adhere to the published programme, it may be necessary for reasons beyond the control of the organisers to alter the content, speakers, and/or timing of the programme without prior notice. Please check the website for the latest version of the programme.
  • Personal information collected will be held on a database and used for communication purposes. In some cases, related to the funding support to the conference, your details may be made available to the funding bodies or its related department for record.
  • In addition to the provisions mentioned above, these terms and conditions are subject to the laws of the Hong Kong Special Administrative Region.
Acceptance of all of the above terms and conditions is required in order to register for and participate in IMPACT 11.

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Topography of Print: Nature in Printmaking


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Return to the Seas and the Rebirth of Romanticism

Sarah Epping

Printmaker, Academic

Akademia Sztuk Pieknych

Sarah Epping is a doctoral researching currently working at the Eugeniusz Geppert Academy of Fine Arts in Wroclaw. She has taken part in nearly 100 international exhibitions and have recently received differentiation as an artistic representative of the Eugeniusz Geppert Academy in a national drawing and print competition in Poland. Her work is housed in several permanent collections of print Museums and her work focuses greatly on conservation and ecological themes.

As far as the eye can see: celebrating the contemporary topography of both landscape and printmaking

Rilka Oakley

Curator, Curator

Blue Mountains City Art Gallery

Rilka Oakley has been a curator since the 1990s. Her research into printmaking is an ongoing interest as she initially trained in printmaking at Southern Cross University, Lismore (1994). She worked at the Biennale of Sydney on the 1998 and 2000 editions and at Ivan Dougherty Gallery as Curator from 2000-2009. She has been Curator at Blue Mountains City Art Gallery since October 2012. She also holds an MArtAdmin from COFA (1997) and an MVA in Printmaking from SCA (2004). “As far as the eye can see” (2016) has toured to nine venues across five states within Australia.

LAND PRINT PROJECTS 1994-2018: Between the topography of the sublime and the studio

Violeta Čapovska


Practising artist

Violeta Čapovska was born in Skopje, Macedonia in 1967, graduating at the University of Cyril and Methodius, B Fine Arts, Skopje in 1991 and completed MA Fine Art at RMIT, Melbourne in 1995. Čapovska’s art practice embodies cross cultural exploration into the concepts of identity, migration and gender. In her art practice Čapovska employs printmaking, video, photography, site specific work, performance, textile, found objects and text. Čapovska has exhibited at Dianne Tanzer Gallery in Melbourne, National Gallery of Macedonia and Museum of Contemporary Art, Skopje. Čapovska’s work has been included in many public and private collections. http://www.violetacapovska.com/