I mostly work with screen printing, letterpress and relief lino cutting because they are accessible techniques that celebrate the quotidian and familiar nature of print.


Each piece has an embedded relationship to production and work, revealing how it is made and building over time.


My installations always have an element of participation, inviting the viewer to interact, contribute and discuss their response to the request.

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'Graveyard Shift' (2020/21 - Ongoing)

Guest artist in the graveyard of St Euny Church, Redruth.


A daily walk to the graveyard to make a rubbing from a headstone, always using the same humble materials, always in the same format and making an emboss from the carved letters.


As the drawings pile up, they are becoming an object.
This work is a direct response to mourning for my father who died in June 2020, this place became a solace during the time before his death when lockdown prevented me from sitting with him. It is a relationship to mourning, formalised by writing a daily correspondence with Roland Barthes Mourning Diary, trying to find a rhythm to grief.


Committed to working in the graveyard for one year from the beginning of Lockdown:2 there will be small invitations and interventions in the space as the time passes.

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Graveyard Shift - A short film made by Dan Collier

'Chaotic Storage' (2020)

Installation of 90 tessellating screen prints hung in response to site.
Sometimes tessellating, sometimes chaotic.
Hand printed wallpaper made using lino cut blocks.
Installed in a domestic setting.


Referring to the method of warehouse storage that is based on computer logic the tessellating screen prints explore our relationship to power as information becomes hidden in algorithms.

The hand-made wallpaper uses the motifs of the screenprint, oily men in grey suits to suggest that ‘For everything that is shown, something is hidden.’

Chaotic Storage. Caroline Wilkins. 2020_
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Liberating Language print show by Caroline Wilkins

'Liberating Language' (2019)

Installation of prints, home-made objects, participation, and give-away badges.

Plymouth College of Art MA show



Liberating Language is a participatory installation which invites the audience to consider the relationship between power and language. Based on my experience of teaching in an Alternative Provision Academy the piece incorporates poster style prints, home-made lecterns and ledgers and a plinth with a handmade book exploring the relationship between language, power and exclusion.

The audience is invited to write their favourite swear word or alternative to swearing in the ledgers whilst being positioned by the lecterns to consider the content of the book.  The book uses a font created from the handwriting of excluded pupils. Mirroring the poster there is a basket of badges for participants to take as a thank you.


'Seven plus or minus Two' (2019)

Installation of buckets, scales and 2 pence coins, participation, and give-away postcards.

Tate Exchange, London with Plymouth College of Art

​The Clipper Inn, Plymouth with Plymouth College of Art


Seven charity collection buckets full of 2 pence coins, on analogue scales, each labelled with a different cause.

Participants are instructed to:

‘Take a handful of coins from the bucket of the cause that is least important to you and place it in the one for the cause that is most important’

Participants are invited to describe and share their decision-making process. The weight of coins in the buckets is recorded hourly. There are give-away postcards to take as a thank you.

Photographs courtesy of Sarah Packer


'Just in time' (2019)

Installation of prints, a home-made surveillance tower and a bucket full of 2p coins placed on analogue scales.

Karst test space, Plymouth


Referencing the ‘just in time’ production method each component of this installation took one hour to complete and was recorded using the surveillance camera on the home-made tower.


Using an Adana hand printing press the coloured cards record a slogan from a logistics lorry ‘The Future in Safe Hands’, I placed a 2 pence coin in a bucket for each print produced.

The lino print is a still from the surveillance film. The installation of the exhibition took one hour, and any remaining prints are piled on the floor.


'Empty but full of Potential 2' (2018)

Installation of 35 lino printed boxes


ChangeMakers: Ways of Protest, Elysium Gallery, Swansea 2020


The Buttermarket, Redruth, 2018 


Seven lino prints of a body part, each representing a contemporary version of Shakespeare’s Seven Ages of Man.


Each box is repeated five times and the 35 boxes are installed in changing formations throughout the day and in response to the site.

Each print is also available as a limited-edition on paper.


'Empty but full of Potential 1' (2018)

Installation of 35 boxes, three tote bags and a pledge sheet.

Project Space 1 at Plymouth College of Art


The 35 boxes from ‘Empty but Full of Potential 2’ installed in response to the gallery space.

Three tote bags (replenished daily) hung on the gallery wall with the invitation to :

‘Take a bag in exchange for signing the pledge sheet to agree to complete the task contained within’

The bag contained a parchment envelope and writing paper with the invitation to ‘write a letter to a person who can influence a cause close to your heart’.

The signatures from the pledge sheet were then used to create a screen print showing them fading out.


'Catch of the Day' pasty project (2018)

Installation of 500 Goyataku prints of pasties hung from market stalls for one day.


The Buttermarket, Redruth, 2018 


Made in response to discussions with the bakeries of Redruth and linking to the Ailleurs 2 project at Impact 10 Print Conference this installation records half the number of pasties baked in the town during a single day.


Each bakery donated one pasty and the prints were made using the direct contact method of Goyataku; usually used to record a fishing catch in Japan. Each print was stamped with a unique lino to identify which bakery they came from. As the day progressed the market stalls filled with prints. Three stalls had questions designed to generate the sharing of pasty secrets and stories.


Prints were shown at Impact 10 Print Conference and I made Cornish Pasties using Spanish ingredients for our potluck meal for conference delegates and the local community.