In printmaker Anna Ullman, we've truly met our aesthetic match. Our love for black & white? She shares it. Our lust for statement shapes? Anna's got that, too. Color gradients? She nails them every time.
Anna's works are a natural fit for any Consort room, with their bold shapes and arresting fields of color. And best yet—since her process is as spontaneous as the results are spectacular—no two prints are ever alike.
Keep reading to get to know what makes Anna and her works of art so unique.
Consort: How did you get started in art?
Anna: I grew up in an extremely creative house, so I’ve been creating art for as long as I can remember. I went on to study printmaking at the Rhode Island School of Design and spent 4 years in the studio. After jobs at Kelly Wearstler, Juicy, and Mother Denim, I missed working on my own art. It wasn’t until a couple years after I graduated college that I started A.E.U. STUDIO and turned printmaking into an actual career.
C: Why did you choose your medium?
A: During my second year at RISD, I signed up for an elective Monoprinting class. Monoprinting is a painterly type of printmaking where only one print is produced, instead of multiples. It quickly became my favorite type of printmaking, and I made it my mission to take the technique and run with it in an experimental and abstract way.
C: What is the most challenging part about working with your medium?
A: You can only make ONE. If a client wants a print that has sold- it’s impossible to make another, and the recipient has to be open to receiving something unique. The pressure of the printmaking press causes the inks to mix in unexpected ways. It’s challenging because I never know what I’m going to get, but this is also what I love most about this process. Each print is a surprise, and one of a kind—no two people own the same thing.
C: What is your creative process like?
A: In the printmaking studio, I don’t like to over think my compositions. All of my strokes are aggressive and in the moment, so I move pretty quickly. Each print I make sparks a new idea, and lays the foundation for the next print that follows. The space around me quickly becomes very colorful and messy with glitter and inks. I also collect inspiration constantly, and I like to be surrounded by it while I am printing. Whether it’s an old school interior, wall of color swatches, graphic typeface or an outdoor landscape- I am constantly inspired. Living in Silverlake also helps- this part of LA is filled with amazing architecture.
C: How has your style changed over the years?
A: I went from painting detailed portraits, to very abstract work. Once in a while though I’ll see one of my old portraits in a client’s home and feel a sense of nostalgia.
C: What do you believe is a key element in creating a good composition?
A. Confidence. My prints are all about an in-the-moment feeling and movement. If I over thought where I placed each stroke, I would end up with nothing. You just gotta go with it.
C: Who are some of the people or what are some time periods that influence your work? Are you attempting to recreate the past in your work, energize the future, or both?
A: I am influenced by Charles and Ray Eames, Richard Serra, Ellsworth Kelly. While most of my inspiration comes from the past, mostly the 50s, 60s and 70s, I personally think that my work is modern.
C: What do you like to do when you aren’t working?
A: Barbecue and listen to music on our patio with my fiancé Josh.
C: Do you have a memory of the first thing you ever bought or owned that occurred to you as “art”?
A: Yes, it’s a poster of the letter G from a typeface, designed by Playtype, a type foundry I visited in Copenhagen. I love the contrast of mixing fine art with graphic posters and photographs.
C: What projects are you working on right now?
A: I am currently working on large blue shape paintings for Consort, a custom capsule of art for a penthouse for a new hotel in LA, a licensing deal, and a collaboration with my good friend Dorianne from Thea Home, Inc.
C: What memorable responses have you had to your work?
A: Someone once described my studio as a candy store- that everywhere you look, you can’t help but want more and more. I couldn’t have asked for a better reaction. When making and buying art, I think having that physical response to art is the most important thing. A lot of the time, I will have clients come to my studio with something in mind, but end up leaving with something that they didn’t expect— it’s that sudden connection that you have when you are face to face with a piece of art that you absolutely love.
C: Thing You Really Wanted
A: Frankie B jeans
A: When I was 14 and super scared
A: I cooked Mina Stone’s Skirt Steak with sweet potatoes.
C: Time you were drunk
C: Emoji you used
A: The wink face
A: In Los Olivos last month