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Professor Paul Coldwell

University of the Arts London
Researcher Research
Paul  Coldwell


Professor Paul Coldwell is an artist and researcher whose practice includes prints, book works, sculptures and installations. He has exhibited widely, his work held in numerous public collections, including Tate, Victoria & Albert Museum (V&A), British Museum, Arts Council of England and the Musee d’art et d’histoire, Geneva and selected for many international Biennials including Cracow, Ljubljana, Split and Warsaw.

Recent solo exhibitions include A Layered Practice 2013, Studio 3 Gallery, University of Kent, Re-Imagining Scott 2014, Scott Polar Research Institute, Cambridge, Material Things 2015, Gallery II, The University of Bradford, Temporarily Accessioned 2017 Freud Museum London, Picturing the Invisible-The house from below 2019 The Sir John Soane Museum,
London and A Still Life: Paul Coldwell in Conversation with Giorgio Morandi 2021, Estorick Collection of Modern Italian Art

He has curated a number of exhibitions, including Digital Responses, V&A, Morandi’s Legacy; Influences on British Art Estorick Collection, London, and most recently The Artist’s Folio at Cartwright Hall, Bradford (2014), published Printmaking: A Contemporary Perspective (Black Dog Publishers-2010) and contributes to a number of publications including, Art in Print, and Print Quarterly where he is on the editorial board. In 2011 he chaired the jury for Imprint International Graphic Art Triennial in Warsaw and has been Keynote Speaker at Impact 7 International Printmaking Conference, Melbourne 2011 and SNAP 3, Germany 2015.

In 2015 he was awarded an Arts Council grant to develop new work for exhibitions at the Freud Museums in Vienna and London and in 2019 led an AHRC Network grant, Picturing the Invisible.

Coldwell's research is focused on a practice-based approach and located within fine art. Through printmaking, sculpture, installation and writing, he explores issues around absence and loss, with ideas crossing between media.

A recurring question for Coldwell is how new technologies impact on previous processes, in particular within printmaking; and how digital technologies can inform and rejuvenate older technologies, such as etching and screenprint.

This fits in to his broader commitment to printmaking, both as a practitioner but also through raising awareness of the value and quality of print over and beyond its role as a reproducible media.

Grants and awards

(Figures indicate amount awarded to UAL)

  • Arts and Humanities Research Council, Picturing the Invisible, £30,494.40, (2019-2020)
  • Arts Council England, Freud-Revisited, £12,668.00, (2015-2017)
  • Arts and Humanities Research Council (AHRC), Absence and presence; A practice led investigation into the spaces and relationships within the House at Kettle's Yard, Cambridge., £15,798.00, (2008-2008)
  • AHRC, The Personalised Surface within fine art digital printmaking
  • Arts and Humanities Research Council, Morandi's Legacy- Influences on British art
  • Arts Council England, Material Things
  • Arts Council England, The artists Folio

Research Outputs

Art/Design item


Book Section



Current research students

  • Sarah-Jane Dougal, A Phenomenology Approach to Artists' Performance to Camera and Video: Video as an Intimate and Embodied Mode of Perception and Expression. (Lead supervisor)
  • Altea Grau Vidal, Unmasking conventions: re-evaluating the notion of the double page spread. (Lead supervisor)
  • Lihong Liu, 'In-between' spaces: Memory, location, 'space of uncertainty' and an 'idea of home' (Lead supervisor)
  • Kim Sutherland, Drawing on form / forming a drawing: Exploring the relationship between surface and object (Lead supervisor)

Past research students

  • Naren Barfield, Integrated Artworks: Theory and Practice in Relation to Printmaking and Computers, and the Influence of 'Non-Euclidean Geometry' and 'The Fourth Dimension’ on Developments in Twentieth Century Pictorial Space. (Lead supervisor)
  • Sam Burford, Is using 3D rendering Software Photography? (Lead supervisor)
  • Maria Christoforatou, The notion of home in representations of displacement: how is the contemporary discourse on displacement being constructed in visual art and contemporary theoretical practice? (Lead supervisor)
  • Mark Donoghue, The Scottish and Japanese Landscapes of Turner, Hokusai and Hiroshige from the Perspective of Deleuze. (Lead supervisor)
  • Maryclare Foa, Sounding Out: Performance Drawing in Response to the Outside Environment. (Lead supervisor)
  • Paul Glinkowski, Putting Artists in the Picture: Locating Visual Artists in English Arts Policy and in the evidence base that informs it. (Lead supervisor)
  • Jo Love, Dust: Exploring surface, material and time within the photographic print. (Lead supervisor)
  • Marcela Montoya-Turnill, Re-situating the Cultural Meanings of Lucha Libre Mexicana: A Practice-Based Exploration of Diasporic Mexicaness. (Lead supervisor)
  • Ralph Overill, How is the woodblock matrix evolving in this digital age of printmaking? (Lead supervisor)
  • Jong-Ha Parker, Following Nature: an enquiry into late 20th Century Taoist 'Naturalism'. (Lead supervisor)
  • Cian Quayle, Inventory for a Reverse Journey. Photographic Image and Found Object - An investigation of travel and material transformation as a paradigm of artist's practice: Ed Ruscha, Douglas Huebler, Bas jan Ader, Jimmie Durham, Gustav Metzger, Kurt Schwitters & Cian Quayle. (Lead supervisor)
  • Barbara Rauch, Natural and Digital Virtual Realities: a practice-based exploration of dreaming and online virtual environments. (Lead supervisor)
  • Jungu Yoon, An examination of the idea of the Numinous in Contemporary Art Practice. (Lead supervisor)