‘After an initial ‘catalyst’ print, participating artists were invited to respond in turn to the print that came immediately before. The previous image was incorporated into the new composition, with finished lithographs bearing a 'key' image by one artist superimposed over a ghost by another. At the time of conception, we were unaware of any precedent for this type of process within lithographic practice.

Part collaboration, part solo venture, Ghost[ed.] allowed us all a considerable amount of autonomy within fixed parameters. For example, the choice of paper was left open, but the dimensions of the prints were agreed early on. Some Ghost[ed.] artists opted to make additions to their lithographs after editioning, such as collage and hand-colouring.’

‘I was responsible for most of the technical delivery and editioned the prints at my printmaking studio in Buckinghamshire. All Ghost[ed.] artists had had some previous experience of lithography. At the start of the project. Polonsky and I hosted a practical workshop. to reacquaint the artists with lithographic materials. This was an invaluable opportunity to meet as a group for the first time and to re-consider the challenging immediacy of working directly on stone.’

‘The Ghost[ed.] lithographs are discrete artefacts in their own right as well as a series of visual dialogues. The suite of eight images emerged from a dynamic creative milieu of experimentation and risk-taking. The contingent nature of the project – the element of surprise when key image was overlaid on ghost – has given rise to rich narrative and gestural juxtapositions, intentional and serendipitous. Ghost[ed.] thus makes a significant and intriguing contribution to the printmaking canon.’

Sue Baker Kenton and Nicole Polonsky, 'The Life of a Ghost', Printmaking Today, summer 2015