From Ausrine:

Monoprint, intaglio or relief printmaking for me is a natural extension of my earlier work in leather medium. I’ve found that any method of printmaking can expand visible and inner boundaries between those two surfaces and allowed me to continuously enjoy them both.  


The relief prints have striking boldness but if one pauses for a second glance, there will be seen some wonderful subtlety as well as details and separate messages of lines and shapes.  High relief, earthy colors and simple idea behind it are my “corner stones.” I build a piece in layers, using different surfaces, materials and patterns to create depth both in form and meaning. Each layer works with and against the layer beneath it. I use printmaking techniques in order to create rich textural surface on paper and the possibilities seems to be endless.  


I start from making the plate by using acrylic mediums to get the right surface than inking the plate in oil-based inks and making the print on etching press. Chine collé is used to add separate color and enrich texture. Later for the next level I will add linocut or etching depending on the idea and the need.Every print is 1/1 and it’s more like a calligraphy and monotype, without the exact repetition. Mostly I use black Arches Cover paper 250g 22“x30” and Rives BFK cream 19.5”x25.5”.  


I make my own paper as well and use it for more flexibility, and, in some pieces, I use linen thread stitching to emphasize lines and cutouts to achieve balance. Most of all I love the fact that whether the relief surface is made on a wood block, copper plate, linoleum, cardboard, or fiber, the beauty of the printing process by itself is a big part of the final creative result.