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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Traversing Boundaries: Printmaking as Multidisciplinary Practice


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‘Towards a vitreous printed syntax: Developing visual language through printed ceramic & glass media’

Steve Brown

Printmaker, Academic, Artist, Printmaker, Academic, Artist

Royal College of Art

Dr Steve Brown is acting Head of the Ceramics & Glass Programme at the Royal College of Art. He describes himself as an applied art printmaker. Over his 35-year career as a print-maker, Dr Brown has worked as a screen-printer for the textile industry, before leaving to complete a BA, MA and PhD at the RCA all focussed on creating imagery through vitreous materials and processes. He has since delivered three post-doctorate research projects: a massive porcelain restoration project for the V&A Museum utilising digital print processes and two others at the RCA, which focussed on developing digitally printed enamels for the tableware industry.

Sticks, Stones and Fonts: Lucy Skaer’s development of print as part of a multi-disciplinary practice

Annis Fitzhugh

Printmaker, Head Of Print Studio

Dundee Contemporary Arts

Annis specialised in Printmaking at Slade and Central Schools of Art, London. Subsequently, alongside a teaching career, she maintained her practice using a range of print processes. For the past 20 years she has been Director of DCA Print Studio, where she introduced new, digital, and experimental technologies to be integrated with traditional print media. During this time DCA has presented some of the most vibrant and challenging work by both emerging and internationally respected artists. An important aspect of DCA programme is the production of editions with artists in the exhibition programme, for which Annis has been responsible.

The Print Reconfigured: the use of the multiple in artists’ books

Maja Dokudowicz

Printmaker, Artist, PhD Student, Printmaker, Artist, PhD Student

E.Geppert Academy of Art and Design in Wroclaw

Born in 1990, in Warsaw, Poland. She obtained bachelor degree in Culture Studies and master of art degree in Printmaking and Graphic Design. Now she is a PhD student in printmaking at the Eugeniusz Geppert Academy of Fine Arts in Wroclaw. In her artworks she analyzes the topics of memory and fragments in the context of the human condition. She’s working mostly in intaglio and relief techniques and she is creating artists’ books. She took part in more than 80 exhibitions worldwide and she had 5 solo exhibitions, obtained awards and honorary mentions.

Ioannis Anastasiou

Printmaker, Artist, Student

The E. Geppert Academy of Fine Art and Design

Born in 1995 in Athens, Greece. Currently a PhD student (provisionaly accepted) in The Doctoral School of The E. Geppert Academy of Fine Arts and Design in Wroclaw, Poland. Obtained Master Degree in Printmaking in Professor Xenophon Sachinis studio, School of Visual and Applied Arts, Faculty of Fine Arts, Aristotle University of Thessaloniki. Acquired an Erasmus+ scholarship for studies in The Eugeniusz Geppert Academy of Art and Design (2016/2017). His work includes social and political context researching the different aspects of memory. He incorporates the relief, intaglio and planographic printmaking techniques in creating 3-D objects, installations, artists’ books and prints. Taken part in over 50 collective exhibitions and competitions internationally. Won the 1st Award in two international competitions, as well as an honorary mention. Participant and lecturer in various lectures and workshops. Worked as a printmaking instructor running classes to adult groups, as well as for a short period in a public school, teaching art to children.

Passing Gestures: Prints, Reproduction, and the Invisibility of Otherness

Ben Rak

Printmaker, Academic, Artist

University of New South Wales

An artist, educator, and independent curator, Ben Rak was born in California, in the United States, and grew up in Israel. He is presently working and living in Sydney, Australia, where he lectures at the University of New South Wales Art & Design. Rak holds a BFA in printmaking (2008) with first-class honours (2009) and an MFA (2013), both from the University of New South Wales. Rak has also curated touring exhibitions themed around the use of print process as metaphor, as well as exchange exhibitions with institutions such as The School of The Art institute of Chicage (USA) and Indus Valley School of Art & Design (Pakistan). Rak is currently undertaking a PhD at the University of New South Wales, where he is examining the phenomenon of ‘passing’ as a condition in both social life and art practice. He is interested in the capacity for the print to act as metaphor for contested identities and the agency afforded to the print when it passes as another medium.