Julie Niskanen Skolozynski spent her first seven years in Greenville, SC, and family moves eventually took her to Newark, DE and Chicago, IL. She received a Bachelor of Fine Arts from Iowa State University in 2005. During the summer of 2003 she lived and studied in Rome, Italy, and traveled around Europe. In 2008, Julie received a Master of Fine Arts in printmaking from the University of South Dakota, where she also managed the fine art gallery and taught drawing classes. She currently lives in Angier, NC, working as a professional artist. She is the founder and owner of Rooster's Crow Studio in Angier, where she works on her artwork and teaches a variety of art classes (homeschool art classes, private and group art lessons for youth and adults, and wine & design workshops). Julie is a member of the Artspace Artists Association in Raleigh, Davidson Galleries in Seattle, WA, the Southern Graphics Council International, and the Printmakers of North Carolina.

         Along with her artwork, Julie teaches workshops, and gives demonstrations and workshops at conferences, universities, and art centers. Continually stimulated by the contemporary art world, Julie attends conferences and workshops across the country. She recently was an artist in residence at Tryon Palace in New Bern, NC where she worked on a series of prints and drawings and gave printmaking workshops. This residency was funded by a grant from the National Endowment for the Arts. Her award-winning work has been exhibited extensively, nationally and internationally, and is in many private and public collections. In May 2013, Julie was a part of the International Mezzotint Festival at the Ekaterinburg Museum of Fine Arts in Ekaterinburg, Russia. Here, she gave master classes at the museum and had several news interviews. Other recent exhibitions include the Frogman's Faculty Exhibition in Vermillion, SD, and American Impressions: a Contemporary Printmaking Exhibit at the Shangai International Convention Center in Shanghai, China.
Website created by Julie Niskanen, updated January 2016

Julie's printmaking history:

          Julie started printmaking her junior year of college (2003) at Iowa State University. A friend talked her into signing up for a class even though she was not at all interested or educated about printmaking. To her surprise, she was immediately hooked. She was completely amazed by all of the effects and unique results attainable through printmaking. After her first year of printmaking classes at ISU, Julie took an etching workshop at Frogman's Press & Gallery in 2004, and has been addicted to printmaking ever since. That same year, she also attended the Mid America Print Council conference and then the Southern Graphics Council conference to learn more about printmaking. Since then, Julie has attended the conferences every year.
          Julie continued to attend Frogman's Press & Gallery workshops for the following three years while also working as an assistant in the workshops. After graduating from ISU in 2005, she went directly to Vermillion, SD to work on a Master’s degree in printmaking. She became very interested in the mezzotint after seeing some mezzotints in galleries, print conferences, and printmaking workshops. So she decided that graduate school would be the perfect place to learn and master the technique.
          When Julie started graduate school, fall of 2005, she bought the mezzotint book by Carol Wax and began researching. During that semester of graduate school, Ryan O’Malley came as a visiting artist where she helped edition some of his mezzotints. After being involved with printing Ryan's plates, she knew that she would love the process. She then ordered a rocker, rocked her first plate and has been making mezzotints ever since.
          Her mezzotints have varied from the small 4” x 6” plates to 9” x 12” plates and now even larger 18” x 24” plates. Julie also works with multiple plate prints that combine hard-ground etching, mezzotint, aquatint, and spit-bite techniques. For these prints, she selectively rocked areas of the plate, so that certain image areas would be a mezzotint image, while other colors and textures from other intaglio techniques would create the rest of the image.