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Black Madonna of Pi Painting
United States
Painting, Mixed Media on Canvas
Size: 36 W x 42.1 H x 1 D in
Ships in a Box
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About The Artwork
This contemporary painting of Liturgical Art is composed of two canvases that make up one work; The upper and lower canvases are shipped in separate boxes. Both canvases are done on heavy cotton, which is stretched on heavy duty wood (pine) stretchers. This detailed painting was created to function as both a work of fine art and as an altar painting used in meditation. It took the artist almost nine months to complete, and part of his motivation in creating the diptych involved the metaphysical philosophies that surround THE BLACK MADONNA's Realm. Part of this belief system has to do with the work being a looking glass for the viewer . . . for existing as a tool of magical geometry for the viewer's soul through which to travel into the Great Mysteries of the Creative Principle. DiFalco insists that, "It is that hidden energy of Divine Perfection that fills the universe and fuels it with love. Throughout history the Black Madonna and creates both wisdom, amazement, and the iinfinite capacity of human consciousness. This work incorporates three symbols: One for the atom; Another for the sacred balance in alchemy between the gendered and non-gendered (the Star of David); and the cubes that represent the Fibonacci Code within the sacred number of Pi (seven over twenty-two). "I became interested in the Black Madonna cult in 1987 when I made a pilgrimage to Montserrat, north of Barcelona. I sensed immense power on this mountain; and, an explosive silence filled the roar of every moment in which I was there. This sound continues to inhabit my soul to this day. This painting is my third one of the Black Madonna as She relates to Quantum Perceptions." The painting is executed on two stretched canvases (one 36 inches by 36 inches-top canvas; one 6 inches by 36 inches wide-bottom canvas). The sides are part of the work and are painted black. MIXED MEDIA: Acrylic, enamel, gesso, pulverized mica & mother of pearl on two heavy duty stretched canvases on wood frames. Di Falco states, "The work is a balance between POP Art and Realism . . . between light and shadow . . . between Mary Magdalene (The Nazarene Priestess) and Mary the Great Mother (the Goddess Eternal)." The Feast of Mary Magdalene in July 22, or seven/twenty-two.
Details & Dimensions
Multi-paneled Painting:Mixed Media on Canvas
Original:One-of-a-kind Artwork
Size:36 W x 42.1 H x 1 D in
Number of Panels:2
Frame:Not Framed
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
Imagery and storyline—both vital components of my creative process—enable me to create a form of visual poetry. Consequently, photography is intricate to my artistic strategy, especially with regard to my etchings. In view of this, many of my printed images—accomplished via the studio techniques of intaglio, aquatint, drypoint, and Chine collè—originate from my own photographs, as well as ones I uncover during research into the archives of academia, historical societies, and museums. Upon locating a scene that fascinates me, I first sketch a few original drawings of the likeness, and next transfer that drawing onto my prepared zinc etching plate. NOTE: In my etchings that incorporate the Chine collè process, I use mulberry bark paper from Thailand, which is infused with Japanese kozo threads. The paper is also treated with methylcellulose. I endeavor to establish links between the metaphysical and physical worlds . . . between the realms of dream and reality . . . and between the natural and the fabricated. In a sense, I believe that art unveils everything that we mask behind our assumptions and biases . . . or rather, those realms we neglect—or refuse—to perceive. My label for our failure to examine these areas is, “The Phenomenology of Non-Connectedness", which I blame on today’s communicational tools such as Social Media, the Internet, texting on smart phones, and “tweeting”. MY ETCHING TECHNIQUE I work on metal etching plates treated with both hard and soft grounds. These grounds consist of mineral spirits, beeswax, oil of spike lavender, and other natural substances. After these grounds dry, I draw images with needles and other tools onto the plate. Next, the exposed areas are “etched into” the zinc or copper plate in a bath of Nitric Acid and spring water. An artist’s proof in then printed after the plate is cleaned; Moreover, two to seven additional plate workings, acid baths, and proof printings occur before my desired effect is obtained. When satisfied with my end result, I apply oil based etching ink onto the clean plate and then remove the excess ink with several wipes. Next, I align my etching plate onto the printing press bed and cover it with papers and press blankets. Finally, the plate goes through the press to obtain my print. This process is repeated until all editions are created. I usually create three to five editions of five or six etchings for each one of my plates.
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