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

‘Lucy Skaer draws on pre-existing imagery, both her own and others, to make combinations of sculpture, film, and print. Form, meaning, and value are traced in her work through various states of formal and allegorical existence, governed by usage, trade, memory, and mass-production. The tension between systems of representation and the first-hand experience is central to her work.‘ (KW Institute, 2018)

From our first collaboration in 2008, I have valued working with Turner prize nominee Skaer for ‘her inclination to select and reconfigure unlikely combinations of visual and material elements, her emphasis on the handmade, her concern for making viewers think about how they see things…’. (Stacy Boldrick, 2008 p.57)

In my paper ‘Liberation of Learning’ (IMPACT 9, 2015), I describe the ambitious project ‘Hogarth Revisited’, which we undertook, when Skaer was artist-in-residence at DCA Print Studio in 2012-2013. Here we explored a gamut of processes, in line with Skaer’s practice of ‘using specific techniques and materials to create new systems of representation.’ (S Boldrick, 2008 p.57) Since then, we have continued to work with Skaer and been directly and indirectly involved in some of her major international exhibitions.

Taking an overview of this history from 2008 onwards presents a fascinating insight into the work of an immensely thoughtful and perceptive artist’s engagement with print in its many forms. Beginning with her initial simple motive to use print for its most basic repeat-pattern functionality to her most recent astute observations on its position in political and sociological development and its infinitely varied visual possibilities as a language, I examine her progress over a decade of consideration of ‘print as a conceptual undertaking.’ (Elisabeth Meyer, p.5 Linking Print Media East to West, 2014).

This analysis will include key print works ‘Sticks and Stones (2016) and ‘Available Fonts’ (2018).


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Academic Paper

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

Annis Fitzhugh
Printmaker, Head Of Print Studio
Dundee Contemporary Arts