Print design to designing prints
I am passionate about all things design, print and digital.
A graduate of Dublin Institute of Technology, I hold a Degree in Visual Communications, and a Masters in Professional Design Practice. After several years working as a graphic designer and design educator, I found myself longing to break free of design perfectionism and get my hands dirty (or inky) again! In 2022, I travelled to Bristol to complete an MA in Multidisciplinary Printmaking at the University of West England.
Having graduated with a Distinction, I returned to Ireland in October 2023.
Creating an etching involves a significant amount of experimentation, considering factors such as acid strength and the optimal amount of ink for the plate. Even discarded copper plates find a purpose in my other favorite pursuit—vitreous enameling. These plates, now deemed unusable for etchings, transform into a canvas for a different artistic venture. By applying shifting powder onto the surface and subjecting the copper to an 800-degree kiln, a unique print emerges—one of glass on copper.
I love to incorporate foiling into my screenprints or add an additional layer of ink using an Albion press. This results in each print possessing its distinctive finish. When working with etchings, the use of Chine Collé imparts a subtle warm background to the pieces. Merging my screenprinting expertise with enamel, I print designs onto ceramic transfer paper as a final layer, destined for the kiln's transformative heat.
Trust the process
Printmaking is all about slowing down.
Design frequently operates at a rapid pace with tight deadlines, a dynamic environment that I genuinely appreciate. However, printmaking demands a more deliberate approach. It requires trust in the process, patience, the acceptance of numerous mistakes, and a strong work ethic to approach anything resembling perfection. While technique is crucial, the printmaking process can yield serendipitous moments, steering the outcome in unexpected directions. This aspect is what drew me to printmaking—the continuous learning embedded in each step of the process as you refine your craft. None of these steps can be hurried.
My own process often begins with the computer, transferring sketches or photographs to the digital space to test composition and colours. When screenprinting, I’ll often create a mini version of the final print to see if my vision translates well to the printmaking process. Colours are then tweaked, and layers are added or subtracted before tackling the larger version.
Gold foil with relief printed texture
Copper etching experiements
On-glaze transfers, enamel on copper
Landscape: photo etching
Landscape: enamal on copper
Folklores & Cures
My inspiration
Recently immersing myself in the folk history of Ireland, I found myself captivated by the superstitious tapestry that defines the country, particularly delving into the intriguing phenomenon known as the "Cure."
The “Cure”, otherwise known as the charm or the gift, has been orally transmitted across generations. It encompasses healing rituals rooted in the land, secret herbal concoctions, ancient bone-setting practices, and a wealth of other rituals. Despite the fading influence of external factors, this captivating aspect of Irish history endures, still practiced in contemporary times. The significance of local healers and their knowledge struck me profoundly, highlighting the enduring relevance of these practices in the modern era.
As I revisit this facet of Irish folklore, I find myself engaging with my own ancestral landscape, examining the concepts of heritage and identity through a contemporary lens. My artistic practice becomes a form of reenactment and re-remembering, aiming to resurrect this overlooked dimension of my heritage. This endeavour serves as a means to question global perceptions of Ireland and ignite renewed interest in the ancestral landscape, along with the indigenous healing practices inspired by Irish folklore.