Nick Smith uses a combination of visual depictions and language to explore the intersection of image and word. Based in Scotland, Smith’s colour swatches create his instantly recognisable, pixelated style pieces. Nick has been experimenting with the boundary between fine art and popular culture for over ten years – in which he has honed his artistic style in a way that is distinctive and unique to him. Also playing with scale, the pixelated ‘image’ is only visible from a distance, whilst the words can only be read at a close range. This change in perspectives creates a way for the viewer to interact with the work in a tangible way.
Recently, the team at Rhodes Editions sat down with Nick Smith to speak about his success as an artist and printmaker. Since 2014, Nick has released countless sell out editions, earning him an incredibly loyal collector base. His work is featured in collections across the globe, and has gained traction in the secondary market, achieving fantastic results in highly reputable auction houses.
Nick Smith signing his recent release 'The Bathers' (2023)
Could you tell us why you decided to start publishing prints of your work?
I’ve always been fascinated by making prints. I started out by making them myself at Print Club in London; there were variations in each print which kind of made them originals. As my career as an artist advanced, I wanted more uniformity and higher production numbers, so I started using Harwood King Printmakers… it was time to bring in the pros!
You use a mixture of Giclée and Screenprinted Varnish on your prints. Could you tell us why you decided to use this method?
In an ideal world, I’d love to use only screen printing to produce my prints. I appreciate the methodical process of applying ink to paper and the craft of slowly building up layers of colour. However, due to the sheer quantity of colours and subtle tonal variations, Giclée printing is better suited to creating my prints. I do add a clear varnish over the colour blocks which is screen printed on. This makes the printed colours pop.
What do you find is the downfall of this method of printing?
There aren’t any; I consistently get the results I am after, but it’s taken a while to get to that stage. We’ve definitely had some hurdles along the way, but they are all ironed out now.
What is the most challenging part of producing prints in general?
I couldn’t have chosen a printer further from my studio if I tried—550 miles door to door. Travelling there for proofing and signing presents the biggest challenge, yet visiting the Harwood King print studio is always a delight. It allows me to get hands-on with the production of my prints, and I invariably discover something new with each visit.
How do you decide on the images and text that you use?
I typically make prints from my original works that are in high demand and translate well into print format. The text content, based on the image, complements or subverts it. There’s always a commentary to be made, and the text is my platform for this conversation.
What is your favourite print image you have produced?
It's impossible for me to choose just one favourite print. The Blue Van Gogh portrait holds a special place in my heart for its vibrant colours and sentimental value—it was among the first major editions I released at the beginning of my career in 2015. Equally cherished is the Heaven print, a collaboration with Foilco that utilised a specialist technique with the Heidelberg press and heat-transferred foil, taking roughly a year to perfect. The way this print's appearance continuously shifts with the lighting is mesmerising, truly phantasmagorical. Yet, this beauty comes with its challenges, particularly the foil's susceptibility to scratches, necessitating white-glove handling.
Nick signing his editions of 'Peter Getting Out of Nick's Pool' (2022)
Do you like collecting prints? If so, could you tell us a bit about your collection?
I do like to collect prints! The journey began with a simple piece of advice I was given: start with prints and eventually move on to originals. True to that path, I've acquired a few originals over the years, but my passion for collecting prints has never waned. My tastes have evolved significantly, influenced by various life changes—from relocating from an urban flat in Peckham to a rural farmhouse on the West Coast of Scotland, to the joys and considerations of family life. These experiences have gently shifted my aesthetic preferences, necessitating a more inclusive approach to selecting art, keeping in mind the shared spaces and sensibilities of my family. My latest acquisitions are the gold leaf Lino Lago’s and Cat Spilman’s which my family adores.
For me, the golden era of print collecting was 2010 - 2014. I used to work next to the White Cube in Bermondsey; I remember being able to nip in on my lunch break and fall in love with some of the editions they had readily available and make the purchase. Some of these editions now command tenfold price increases on the secondary market. I had to let a few go over the years, but the ones I still own hold a special place in my collection and personal history.
Do you have any advice for amateur artists and printmakers looking to make it in the art world?
Make your art unique; the best situation you can be in is where someone looks at your work and knows it’s unequivocally by you. That’s not easy, but it's a great way to get known and ultimately to lead to a successful career in art.
What’s the biggest lesson you have learned in the 10 or so years you have been making prints?
Once you find a technique of printing that works for you… perfect it. For me, this involved developing a close relationship with my printer, Harwood King. I look back at the first prints we were creating in 2015, and we’ve come a long way. The improvements have been small but incremental over the past 9 years we’ve been working together. About 5 years ago, we started using a UV hardened varnish that smells like marzipan. I never thought the smell of a print would matter, but it adds to the uniqueness of my editions.
Do you have any images that you would love to release as a print in the future?
I do, but I’m pretty cagey about sharing my plans for the future.
How do you think your previous work as a designer has influenced your work as an artist and printmaker?
Transitioning into art, my design background has made me a more practical artist, instilling a deep appreciation for the power of presentation. Design, at its heart, revolves around the effective communication of ideas, often requiring a balance between creative vision and the practical demands of business clients. This experience has been invaluable in guiding my artistic journey, teaching me to navigate the complexities of an evolving career. In my practice, I approach each piece as if it were a response to a self-imposed brief, similar to how a design project begins. My solo exhibitions are conceived as cohesive series, each exploring a distinct theme. The way these series are presented—through careful framing, hanging, and the overall setup—is critical, aiming to fully immerse viewers from the moment they step into the space. These principles, honed during my time in design, have become fundamental to the way I create and share my art.
After a landmark year in 2023, what are your aspirations and plans for your art in 2024?
I'm eager to see the ongoing development of my work. Presently, I'm juggling four projects, including my upcoming solo exhibition with Rhodes, set to open in May. It's clear that 2024 is on track to be just as bustling and eventful as the last year. My focus is on exploring new concepts and deepening the engagement with my audience. I'm excited about the opportunities and challenges that lie ahead, and I'm committed to making 2024 a year of significant artistic growth.
You can purchase Nick Smith's prints here or please email info@rhodeseditions.com for more information.
