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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Proposal Abstract

This paper seeks to respond to how as print makers we may be open to unexpected events within making, in the process-driven habituation of printmaking methods and practices. In a digital age of predictive systems of visualisation, copying, image transfer and repetition being open to chance is investigated. By demonstrating that responding to repetitive techniques of drawing and printmaking, acceptance and adoption of unintended, but fortuitous material opportunities may offer up rewarding creative encounters. Critical to the discourse presented will be the consideration of historic and contemporary approaches to print that reveal, through printmaking processes that printmakers can be responsive to material and aesthetic opportunities ‘thrown up’ during their methods and practices.

The adoption of chance occurrences tends toward unique individual prints that might be termed ‘VE’ (Varied Editions) rather than repeatable, numbered limited editions. Historically, states of prints from the same plate reflect the maker’s desire to build and rebuild, try, test and experiment with mark making within the making of an individual image. ‘The term state is neutral to the question of completeness since it refers only to alterations in the plate without evaluating these changes in any relation to aesthetic finish.’ (1) Adoption of chance may lead to new states of printed images. Through the balance, recognition and application of valuable repetitive processes and material chance, this paper will present the learning that thought, intention and the expectancy of what might transpire are interrelated. It will propose that in recognising complex objectives the artist can be open and responsive to what the repetitive processes of making may present, during the acts of print creation, and in doing so lay new parameters for future encounters. The paper will be presented in the context of current research into ‘Contemporary Drawn and Printed Portraiture’. 

(1) Parshall, P.W. Sell, S. and Brodie, J. 2001. The unfinished print. National Gallery of Art Washington.


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