Mokume

In this exhibition, Stephen Kenny presents a new series of letterpress works that explore language, perception, and resistance in the digital age. Using the slow, physical craft of printing withwoodblocks and metal type, he combines poetry, quiet humor, and observation to cut through the noise of contemporary life.
The title “Mokume” — meaning “wood eye” or “end grain” — refers to the patterns revealed when a block of wood is sliced open: layers of memory, experience, and consciousness pressed into thesurface. Each print holds traces of time — the marks of old blocks, the breathy black of under-inked impressions, the slight variations that can only come from hand printing.
The works were created in his long-standing letterpress workshop, The Printer’s Devil, where shelves of old type, woodblocks, and tools find new life through his hands. The thin Japanese papers he prints on, nearly transparent when held to the light, reveal every subtle detail and give the pieces a quiet, almost meditative presence.
Together, these prints form a space where viewers are invited to slow down, to look closely, and perhaps notice something familiar in the layers of thought and feeling embedded within the work.
We caught up with Stephen to talk about his practice, the origins of Mokume, and what continues to draw him to this deeply tactile, analogue craft.

Q: Do you remember the moment you first felt drawn to letterpress and woodblock printing? What sparked your connection to this craft?

Yes, I remember quite clearly the moment I felt drawn to letterpress. I found an old magazine in a flee market from 1890. On the cover was a Christmas message - using a font in the shape of tiny logs.It had so much detail & was very eccentric and mysterious. I later found out that this type face was called ‘rustic’. Rustic was designed and cast by the Figgins type foundry in England in 1845. This discovery made me curious to know more about old type faces and the trade and craft of letterpress & so I became to research and came across some type dealers and started to collect wood type andpresses in 2008.

Q: What inspired you to establish your own workshop back in 2008? Are there any early memories from those first days that still stay with you?

Right from the beginning I approached letterpress as a business not as a hobby. I knew I wanted this to be my profession from day one. It’s hard to explain why, but the combination of antique equipment, beautiful typography and hand inking really seemed to appeal to many things at once. I’ve always felt drawn to the past and feel like I was born too late. Possibly the 1880s would have suited me better.

Q: How do you source or create the blocks and type you use in your work? I imagine each piece has its own story — are there any memorable discoveries or processes behind them?

This is a great question. It’s what really makes all us letterpress printers unique. I’m drawn to eccentric typography. I love how a type face has a ‘tone of voice’ or a personality. The message can be completely altered with the font you chose. The fonts I’m most interested in tend to be ‘scripts’ and ‘italics’ these have a forward movement that feels both positive and warm. The most recent discovery is a font called ‘paint brush’ from the 1880s by British type foundry ‘Day & Collins’.

Q: The title “Mokume” evokes the layered patterns of wood grain. What memories, thoughts, or inner layers were you exploring while creating this new body of work?

Another good question. This title is in part a communion with the wood blocks themselves. They have all been used by previous printers. To reveal the endgrain and also the imperfections in the printis a way of hearing the voice of individual blocks. It’s a respect and appreciation for the wood blocks and the craftsmen who made them. Mokume is the voice of the wood - this honesty is something I’m very aware of - especially in this contemporary culture where the meaning of words is deliberately changed by people who are fundamentally dishonest. The establishment narrative should not betrusted - we should wake up and be aware of how words DO NOT match deeds.

Q: In a time when everything is instant and digital, why do you continue to embrace such a slow, physical process? What keeps you committed to it?

In a world where AI and algorithms shape our thoughts and ideas, it becomes more important to slow down and turn down the volume from the culture. So much lies and manipulation. We should remind ourselves of who and what we are. There is more truth and beauty in the world and it’s important to remember this. My workshop is quiet. I work in silence and walk the wooden floor in old heavy boots. The sound of myself working and in this old space calms me and energises me. This helps me to continue. Reading and printing also helps.

Q: Your prints often feature phrases with humour or subtle twists. How do you choose the words for your pieces, and what kind of feeling or perspective are you aiming to express?

Humour and truth are fundamentally important in a healthy honest society. Here in England we have lost our way. Nothing is funny and there is no honesty or integrity. We are spiritually lost. So Americais an inspiration for us. The right to express yourself (free speech) and the right to defend yourself are fundamental human rights as far as I’m concerned. These go beyond politics. When making a serious point, one can either be ‘wind’ or ‘warmth’. The sun will encourage a man to remove his coat while the wind will only make him tighten his belt.

Q: Marks, scratches, and slight shifts naturally appear when printing by hand. How do these small imperfections shape the character of your work?

Yes, the old wood blocks have more character. Much like old well made furniture and clothing - antique wood blocks age well. The beauty here is that, each individual block is different. I often find myself reaching for the same A or B in a set as the markings as so unique and mysterious. The individual markings are only clear when seen up close. When one comes close to a great painting - we have a fresh appreciation of the painting - the same can be said when viewing a wood blocks print up close.

Q: You often print on extremely lightweight Japanese paper. What makes this material special for you, and how does it influence the final print?

Japanese paper is unique in its lightness and strength. When printing a colour on a colour, only Japanese paper has the strength and integrity to cope. Other papers slip and move and smudge. The Japanesepaper remains true. The Kozo (mulberry) fibres help to bond the paper. Sunlight can pass through Japanese paper and yet it’s hard to rip. One must also handle with care as it will crease if picked up too fast.

Q: Each stage of your process—from preparing the blocks to pulling a print—requires patience. What does this slower pace allow you to experience or think about?

The process is indeed slow. In fact it’s almost a meditation. Every aspect is considered, even the cleaning and tiding of the workshop at the end of each day should be enjoyable. If I’m working in silence, my concentration is focused entirely on inking and printing. It’s a chance to focus and slow down and to listen.

Q:What would you like people to feel or reflect on after seeing this exhibition?

A great question to end with. Thank you. I hope people will connect with these prints. Ultimately I wish for more honesty and a reconnection to our soul / spirit / humanity. I myself have felt in the last two years. I feel as though I’ve returned to something very important - I’ve rediscovered a spiritually within myself. If these prints can encourage a thoughtful conversation and a smile - then I see this as a success.