The date noted is the year the plate was finished, but often he began work on a plate many years earlier. He explained his method of working: ‘I made a lot of sketches and took a lot of photos so I could remember details. I never draw or scratch after photos, the idea, the ‘feeling’, will die in a way then. For me, making art involves waiting, I look upon a proof or a drawing, thinking and waiting for the idea, the feeling, to ‘develop’. Taking time for an idea to mature. I always print my copperplates myself and I use a simple steel needle for the drypoint works.’ The story behind the print, in the artist’s own words, was written in February 2024.
In 2001 and 2002 Lina and I spent a total of 6 months as resident artists at the Ballinglen Arts Foundation in the small village of Ballycastle on the north coast of Co. Mayo. A wonderful organization run by wonderful people. It was a period that meant so much to both of us. There I started drawing trees and landscapes, while at the same time I occasionally continued to work with Dublin City motifs. The area around Palmerston Bridge and the Cloonaghmore River was magical, a secret place. A valley sheltered from Atlantic storms.
Inscriptioncentre right: Lars Nyberg
lower right: Palmerston Road
