VIEW IN MY ROOM
Scene from Cathédral Saint-Éntienne Painting
United States
Painting, Ink on Paper
Size: 26 W x 12 H x 1 D in
Ships in a Box
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About The Artwork
Ships with both an archival mat and frame--ready to hang. The frame size is about 26 inches long by 12 inches high. In this macabre work, Di Falco combines the genres of printmaking and painting. His artist’s proof of this black ink on white Rives BFK paper etching (executed in the studio processes of intaglio and aquatint) was adapted from an albumen print created between 1865 -1886 (artist unknown). This early photograph is from the “A. D. White Architectural Photographs Collection”, of the Cornell University Library. It represents a detail from the bas-relief sculpture of THE LAST JUDGEMENT on the portal of the Cathédral Saint-Éntienne in Bourges, France (built 1190-1275). The original title of Di Falco’s silver ink on black paper etching was, “HOW IT ALL ENDS IN BLACK AND SILVER: Cathédral Saint-Éntienne, Bourges, France” (hand-printed in 2013, shown in detail image). There is an optical illusion in this etching that requires the viewer to stand away from the work. This illusion translates into a winter landscape of barren, snow-coated trees reflected in a flowing stream’s water. The etching won FIRST PRIZE in printmaking at the NAKED IN NEW HOPE Exhibition (2014) at SIDETRACKS GALLERY in New Hope, Pennsylvania, USA. The artist began to enhance his etched artist’s proofs after losing access to his etching studio a half year ago because of the viral crisis. He hopes to return to his studio after Labor Day of 2020. The media includes: etching ink; RivesBFK white paper mounted on three pieces of Stonehenge black paper; gouache, pulverized mica, gold dust, and Winsor Newton watercolors. Di Falco’s hand-printed etching—executed on two individual zinc plates—was created on a Brand press (industrial floor model made in New York City). All work was done at Fleisher Art School’s Center for Works on Paper, located at 705 Christian Street in Philadelphia, Pennsylvania. Di Falco placed the etching plates side by side on the press simultaneously to produce one image (a space of 1/8 inch separates the plates). Each plate measures 5 inches high by 7 inches wide, making the etched image 5 inches high by 14 inches wide. The print size is about 10 inches high by 18 inches wide. NOTE: This work ships to the collector/buyer with both an archival mat and frame (Ready to hand). The price of shipment is about $65.00 and is included in the quoted price.
Details & Dimensions
Painting:Ink on Paper
Original:One-of-a-kind Artwork
Size:26 W x 12 H x 1 D in
Frame:Other
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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