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Marking a surface, as a system of communication, has lost little of its relevance today; the means may be more varied but the essence of the act remains fundamentally unchanged.  Julie Merriman’s work is a continuation and a disruption of this process.  It examines the history of mark making in the context of drawn, written and programmed language.   Using present-day and historical data as research material, she investigate modes of inscription, replication and transmission.   

 Drawing is a tactile media, predominantly of the hands.  Obsolete office copying materials are used to make the work; carbon paper, typewriter film and wax stencil paper.   The binary nature of much of the work is the result of following the logic of these materials; the drawings explore the relation between the original and its copy, sharing characteristics and appearance with print.  Now, foregrounding manual and mechanical mimeograph duplicators, print has become an active medium in her practice.  She is currently exploring the book as a space of exhibition, a way to disseminate, promote and distribute artwork.

Recent projects include: research into growing movement in European arts practice of stencil duplication, Visual Arts Bursary, The Arts Council 2019; DLR Lexicon Commission Award 2018; Grangegorman Public Art Commissions 2018; Artist in Residence, UCD school of Engineering and Architecture 2017. Solo exhibitions: Carriage Return, DLR Lexicon Gallery 2018, Revisions, Dublin City Gallery The Hugh Lane 2016. Group exhibitions: Home: Being and Belonging in Contemporary Ireland, The Glucksman, April 2020; Dublin Art Book Fair, Temple Bar Gallery 2019; EVA International 2018, Limerick City Gallery.  Her work is in Dublin City Gallery The Hugh Lane’s collection, The National Drawing Collection, Limerick, The Arts Council of Ireland and other public and private collections.