GRAPHIC STUDIO DUBLIN
Graphic Studio Dublin is the oldest and largest printmaking studio and gallery in Ireland, enabling artists to work in the medium of fine-art print. Our Studio supports the practices of c.75 artist members, has run a Visiting Artist programme for over 40 years working with the best of Irish and international artists, and runs printmaking courses, along with online demonstrations and artists talks encouraging public knowledge and participation in printmaking. Graphic Studio Gallery, based in Temple Bar Dublin, is a dedicated gallery space that promotes the medium and presents the best of Irish printmaking, through gallery and online exhibitions. Graphic Studio Dublin was founded in 1960, in response to the lack of fine-art printmaking and teaching facilities in Ireland by artists Elizabeth Rivers, Anne Yeats, Pat Hickey and Leslie McWeeney and the Fine Art Editions publisher Liam Miller. With an artist-led ethos since its inception, Graphic Studio Dublin has protected the traditional skills of etching, stone lithography, wood and linocutting and now embraces contemporary techniques of photo-intaglio and screenprinting. Hundreds of artists have passed through the doors of the Studio, from the first basement premises in Lower Mount Street, through its long and productive sojourn in Green Street East in Dublin’s Docklands to its present home in a spacious four storey former brewery on the North Circular Road. Many of its artists have gone on to spread the skills of printmaking by founding new studios. Graphic Studio Dublin is supported by The Arts Council.
Julie Ann Haines
Julie Ann Haines is a Belfast born painter and printmaker now based in Dublin and a member of Graphic Studio Dublin. She depict quiet unremarkable corners of urban life close to where she lives. She finds a meditative stillness in the sunlit corners and dense shadows that envelop private and overlooked spaces. They are just outside the busy thoroughfare of daily life and she find them where light falls on a pavement, a harbour wall, a half built apartment block, or dilapidated house. These unpeopled and unimportant spaces feel disregarded in life but seem to adopt a stature of consequence when she places them centrally in her compositions. She captures them in a certain space in time before being updated or demolished. The structures and dwellings she is drawn to stand alone. The play of light falls across their broken facades and boarded up windows and speaks of the poetic silence of everyday life. It makes extraordinary out of the ordinary. Their uninhabited state accentuates the quietness. She depicts them caught in a certain moment in time and as well as a sense of passing, She is conscious of the labour and life that has witnessed and helped form them. The traces of passers by who stop to gaze and admire. she is one of these many. Sensing her place in the cycle, documenting things once regarded. Now worn and imperfect, they are disposable. These are the changing pieces of her environment. Empathising and watching, She portrays their silent composure and beauty before their imminent demise. Her process is multi plate colour etching. She meticulously spit-bites her pieces entirely, painting acid onto copper plates to create deep tones and rich darks, checking the etched aquatinted surfaces diligently to control the outcome. It is a focused and intensive method and one that has endured for centuries. There is a rich layering of colour in each print. The focused process and layering of colour seem to echo something of the patina of time that attracts her to these forgotten structures in the first place
Etching, 78 x 59 cm
Etching, 46 x 38cm,
Ria Czerniak-LeBov’s work is an exploration of spatial memory, the urban landscape and how the ubiquity of technology has changed our relationships with both. Despite working in the medium of copper plate etching, her work draws on film studies and an array of mobile technologies, through which we now experience so much of the world. Czerniak-LeBov's etchings are about the potential of printmaking as much as their subject matter. Ria's large scale, composite etched works force the viewer to slow down their consumption of visual imagery. These tracking shots are an exploration of the relationship between still and moving imagery, a visual play on cinema's frames per second. Like Muybridge's studies of motion, these images unfold before us, freeze framing movement into its constituent parts. Print's ability to produce multiples, original and yet reproducible, is pushed to its limits in Czerniak-LeBov's hands. Both physically and conceptually, the gradual degradation of plate, memory and meaning is captured, somewhere between permanence and ephemera. Ria Czerniak-LeBov is an artist and musician from Dublin. She was the recipient of the Graphic Studio Dublin Graduate Award in 2016, where she is now a full-time member, predominantly working in etching and aquatint. Czerniak-LeBov’s prints have been shown at the RHA, RUA, The National Botanic Gardens, St. Patrick’s Hospital, The Hyde Bridge Gallery, ImPRESSions and NUI Maynooth among others. Ria’s work is part of several permanent collections including the OPW, Mason Hayes and Curran and Trinity College Dublin.
'Tracking (Widescreen Vignette)'
Etching & Aquatint,100 x 250cm
Etching & Aquatint, 90 x 130cm
Interested in purchasing one of these artworks? Please contact the Workshop/Studio directly at the email address above. Prices are for unframed prints.