VIEW IN MY ROOM
GAZA: DREAM OF THE MAGI Painting
United States
Painting, Ink on Paper
Size: 11 W x 14 H x 0.1 D in
Ships in a Box
Artist Recognition
Artist featured in a collection
About The Artwork
Work is shipped without a mat or frame. This abstract, mixed media work on paper combine printmaking and painting. It originated as an etching on RivesBFK white paper, which employed the studio techniques of intaglio, aquatint, drypoint and Chine collé. This etching was hand printed and published by the artist at The Center for Works on Paper in Philadelphia, Pennsylvania within THE OPEN PRINTMAKING STUDIO on The Fleischer Art campus. This was created in 2018. In 2020 (February) the artist lost access to his studio due to the virus crisis. He hopes to return on Labor Day in September. While working in his loft studio, the artist took former etching proofs and enhanced them with watercolors and gouache. This mysterious work, entitled GAZA: DREAM OF THE MAGI, stands as an example. It refers to the city of Bethlehem (in Palestine) surrounded by barbed wire by the Israeli government during Christmas season of 2019. The media includes etching ink, RivesBFK white etching paper (8 x 10 inches) mounted a sheet of watercolor paper (11 x 14”), glue, mulberry bark paper, watercolors, and gouache. This painted print is shipped to the buyer without a frame or mat. This keeps the price affordable and offers the buyer a wide selection range in framing. It is packed between two acid free boards wrapped in glassine and then packed carefully with bubble wrap. It is next placed in a shipment carton. The price includes all handling, packing, Certificate of Authenticity, and all regular, domestic (U.S.) shipment costs. The Chine Collé Process Explained: Methyl cellulose powder is reconstituted by mixing it with spring water and then applying the clear viscous substance to hand-dyed mulberry-bark paper from Thailand (Brand Unryu); In Japan, Unryu translates as CLOUD DRAGON paper because it has long swirling threads of kozo fibers integrated in it, thereby giving the texture and visual effect of clouds. (Kozo fibers come the branches of the kozo bush, specifically the innermost of three layers of bark, which must be removed, cooked, and beaten before the sheets are formed. Kozo is harvested annually.) The treated Thai paper is then allowed to dry overnight and I cut it to fit the plate areas where I want color to exist in the print. These stenciled mulberry-bark papers are first dampened/misted with water and placed upon the already inked and wiped etching plate. The printing process continues, and a multi-colored image on paper resulting. This hand-done process is difficult and time consuming.
Details & Dimensions
Painting:Ink on Paper
Original:One-of-a-kind Artwork
Size:11 W x 14 H x 0.1 D in
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.
Have additional questions?
Please visit our help section or contact us.
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.
Artist Recognition
Artist featured by Saatchi Art in a collection
Thousands Of Five-Star Reviews
We deliver world-class customer service to all of our art buyers.
Global Selection
Explore an unparalleled artwork selection by artists from around the world.
Satisfaction Guaranteed
Our 14-day satisfaction guarantee allows you to buy with confidence.
Support An Artist With Every Purchase
We pay our artists more on every sale than other galleries.
Need More Help?