Printmaking

Fowler’s multi-component output brings together his practice-based research into rubber stamp and primitive printmaking techniques. His methodology incorporates the investigation of materials through active making and the creative synthesis of archival research into the historical and cultural dimensions of rubber stamps. Fowler has realised rubber stamping’s potential as a means of producing more than multiple images and spot colours, evolving into a sophisticated practice of narrative artists’ books, exquisite corpses, printed food, body prints and graffiti.

He has worked on producing faux stamps or ‘artistamps’ - portable, tiny artworks that play with the notion of authority, culture and officialdom. He has studied the history of rubber stamping from the early 1970s, from Fluxus artworks to Rubber, a monthly bulletin published by Stempelplaats in Amsterdam. The Rubber Stamp Album Book by (Miller & Thompson, 1978) was a seminal influence on his work, as was Thompson’s RubberStampMadness magazine first published in 1980 in the USA.

Fowler was the first artist to be invited to work with Minnesota Centre for Book Arts’ newly acquired rubber stamp archive. Fowler edited stamp compositions created in the archive, and with the art direction of Craig Atkinson, these were reproduced in a small book and included in an artefact box of badges, and original artistamps published by Atkinson’s Café Royal Books, launched at the international artist book event BABE, at Bristol’s Arnolfini Gallery.

Fowler’s research findings were further disseminated through exhibitions, publications including the book Rubber Stamping (Laurence King, 2016), artists’ book limited editions and workshops. Recognition of the leading role Fowler has in this field is evidenced in interviews, articles about his work, an invitation to be a keynote speaker, and his shortlisting for the AOI World Illustration awards. His work has been part funded by the Art Workers Guild, London.