Tell us a little bit about yourself and your background – what led you to a career as a printmaker?

I studied illustration and photography in the Netherlands and the UK. Over time, I became increasingly drawn to the tactile process of printmaking. Linocut offers a direct, physical connection to the material – it allows me to slow down, to carve, and to build an image layer by layer. That meditative aspect continues to inspire me.

How do you push the limitations of the linocut process to work in varied materials?

I work in large-scale formats with oil color on canvas. Also, using gouache on handmade paper, recently Japanese Washi, exploring how different surfaces affect the atmosphere of the image. I also experiment with modular printing with painted backgrounds.

Can you share more about the work you made during your time in the United States? What was your experience as an artist in moving from Germany to the Western U.S.?

During my time in the U.S., I created a series of linocuts inspired by the vast landscapes of the Southwest. I was deeply moved by the emptiness, the silence, and the play of light in the desert and the contrast of mountains and the city. These impressions shaped my visual language and myself as an artist. The shift in environment changed my perspective completely. In Germany, I was surrounded by layers of history and density. In the Western U.S., I encountered wide-open spaces, raw nature, and a different rhythm of life. That contrast brought a new freedom into my artistic process.

Pia van Nuland
3300 South/SLC/USA, 2018
relief print
30 x 22.25 in.
$1,200

What are some of the things that influence your work?

I’m inspired by nature, poetry, and Japanese aesthetics. The prints of Hokusai but also the work of Joseph Beuys have had a strong impact on me. I also draw from contemporary artists who work with reduced imagery and strong material presence.

Pia van Nuland in Japan for her upcoming exhibition Goddess of Paper.

Pia van Nuland
Here I Stand, 2020
relief print
39.5 x 27.5 in.