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Print (MA)

Izzy Smithson

Izzy Smithson was born in Surrey, UK in 1995 and is a London based artist. She received her BA in Illustration and Visual Media from London College of Communication (UAL) in 2017. 

She works across multiple disciplines including printmaking, drawing, collage, photography, installation and most recently moving image. Working directly with personal history and environments she reflects on the temporary and disorientated nature of memory, where within her work there is often a tension between imagery and materiality. 

Her exhibitions include RCA Show at Kristin Hjellegjerde Gallery 2020 (Upcoming), Against the Grain at Southwark Park Galleries 2020, Group Showcase Print at Hockney Gallery 2019 and Sustainable Futures at Dyson Gallery 2018.

During her studies at the RCA, Izzy has also been Print & Design support technician at UAL. She has also assisted in public printmaking workshops at the Science Museum, Natural History Museum and Tate Britain. 




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Degree Details

School of Arts & Humanities

Print (MA)

For a long time, I have been influenced by overarching ideas of psychogeography, focussing on the influence of environments on the mind. My practice is currently rooted in the history of my grandparent's house, observing and researching deeper into the significance it has in my life, as well as its wider shared context. I look at the collective ideas of ownership of space and journeys of loss, with particular attention to memory.

A lot of my work concentrates on mass documentation, archiving and journeying through my own personal history. My process involves various stages and methods of visual production, where I enlarge autobiographical photography, produce narrative drawings and merge these with different forms of printmaking to distort and alter the image. Cardboard is used to flesh out the substance of the work and express the unstable and layered relationship to memory, place and time. I use my everyday surroundings as a display mechanism by situating these collages back into my immediate environment, where it also becomes an investigation into the nature of documentation. I have enlarged these images and places them back into my surroundings to reflect on our current situation of stillness and observing.

I am no longer able to visit this house and I now feel an outsider to a place that used to be so open to me. Because of this I have been working with screen shots taken from Google maps, alongside my grandfather's photographs and drawings, adding layers of distant observation that in some way connect with my feelings about this disruption with the past. It is important for me to develop multiple perspectives to be able to fully uncover the history, memories and emotions that were concealed here. 

Lapping — Giclee print on fine art archival paper 84 x 60 cm

You — Giclee print on fine art archival paper 84 x 60 cm

Around — Giclee print on fine art archival paper 84 x 60 cm

The Twisted — Giclee print on fine art archival paper 84 x 60 cm

Garden — Giclee print on fine art archival paper 84 x 60 cm

Twice — Giclee print on fine art archival paper 84 x 60 cm

Her arms wrapped around my body, holding me tightly so I wouldn't fall. We were swinging slowly back and forth in a gentle, meditative haze. My small body encased in a puffer jacket; it must have been winter. I remember the bricks on the wall that were grey, as dull as the sky and sea. These moments were captured by my grandfather, but did they seize what we experienced or am I shutting off particular parts?

The place we drove past that sold gargoyles and garden ornaments is now very different. Can you class a traffic cone as an ornament? Decorative and bold, shining in the car lights.

Giclee prints on fine art archival paper.
Editions of 10 + 4AP.




84 x 60cm
DocumentationdomesticJourneyMemoryNarrativePhotocopyPhotographyPoor imageprintprintmakingPsychogeography

Something About My Grandmas House — Mixed Media Installation (Panels roughly 160 x 200cm)

Detail — (Panels roughly 160 x 200cm)

Wrap up in the blanket, soft and puffed with something gentle on my skin. Patched together parts of my grandpa's shirts, with the sewing of your machine and your hands; a labour of love.

The horizontal loading of imagery or floorboards creaking beneath your feet. A slow waiting game; line by line. The rigidity of cardboard that falls and drapes like the blanket did. It curves at the bottom as if falling around our cold feet. His feet are in socks and sandals located near the fire to get warmer.

Photography, drawing & painting mounted on cardboard.


Mixed Media Installation


Panels approximately 160 x 200cm each
Ciggy by the Washing Line
The gentle jostle of our squished bodies in the back of the car and the constant feeling of nausea. The smell of peanuts stuck in my mind and the stop and start of traffic. I went to my grandparents' so frequently that I almost know the route off by heart, without even driving there myself: I can't drive. I pushed my opposite toes against the heels of my shoes and feet, releasing them for comfort. If the drive is an hour long, then my feet don't need to be in shoes.

Landmarks throughout the journey act as checkpoints. We are at the Devil's Punch Bowl: only an hour to go. Since they built the Hindhead Tunnel, the journey is quicker, but it missed out one of the best parts. The checkpoints hold memories; I enjoy recalling.


Moving Image


2min 3 sec


Home — Folded with bellyband



Collaps or unwrap the tight fold. I flatten and compact into a tight uniform: the washing machine gurgles at the movement. When you open they breathe and allow the flow of water, filling the pipes of the house. The slow ticking of the radiators and clock beat in rhythm.

There isn't a way of unfolding that makes most sense. The constant changing of structure is like the rebuilding of the house. The folds are like scaffolding to hold the building together. Where I place the room will differ from where you place it, there is no one way.

2 layer - double sided - screen printed publication
Edition of 15 + 2AP




104 x 148 mm when folded

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