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

Shina, cherry, pine, birch, basswood; all familiar species for printmakers who are passionate about the woodcut process. This exhibition, aptly entitled, ‘Sustained Ingrain’, is an international, cultural exchange project consisting of a portfolio of contemporary woodcut prints from artists in China and North America, co-curated by Scott Ludwig, Professor of Art (Printmaking) at Appalachian State University (USA) and Liu Jing, Professor of Art (Printmaking) at Changsha Normal University (China). The represented artists exemplify a diversity of creative vision, innovative process and aesthetic appeal, with each working extensively in the wild and wonderful medium of woodcut. 

For many, a simple block of wood, long associated with craft traditions in both the East and West, emerges as the ultimate, natural antithesis to ‘hi-tech’ methodologies that seem to negate the hand. It is the ingrained, natural beauty and sensual materiality that so perfectly lends itself to the meditative act of cutting and carving—material that is so inherently connected to the environs of planet Earth.

Historically, the printmaking medium has sustained itself through innovation, yet in this era of hybrid studio practices, the woodcut is a traditional standout, with Eastern methods of printing adapting the first ‘environmentally friendly’ process with its traditional use of dispersive, water-based pigments.

This exhibition examines such questions as why has this antiquated process, with a wide range of cultural and historical antecedents dating back millennia, sustained itself over time? Is it still artistically viable in early twenty-first century printmaking, with a plethora of immensely seductive, digital technologies available to artists? The answer is emphatically, YES! And this portfolio and exhibition of marvellous prints underscore the point.