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Baroque Lara - Limited Edition of 5 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 9 W x 12 H x 1 D in

Ships in a Box

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About The Artwork

Note: This edition is slightly more money because it uses three colors of Thai mulberry bark paper in the Chine colle process. This paper is infused with kozo threads from Japan, and the red paper also contains gold metallic threads embedded within it. This intimate hand-printed etching, executed on a Charles Brand hand build press manufactured in New York City, incorporates the studio techniques of intaglio, aquatint, and Chine colle (Chinese pasting). I blended Parisian, oil base etching inks (Charbonnel brand) and RivesBFK white etching paper. The process of Chine colle required Thai mulberry bark paper infused with kozo threads (from Japan), which was hand treated by the artist with methyl cellulose. The size of the zinc plate measured five inches wide by seven inches wide; the actual print size is about ten by eleven inches, and the frame size measures about 12 inches high by 9 inches wide. The scene was adapted from a photograph I shot in Madrid when I lived there in the spring of 1990. The neighborhood at that time had just begun to gentrify, but was still noted for its red light bars. The most beautiful Baroque church in Madrid (Saint Anthony of the Immigrants) was located across from my hostal, Ia fifth-story walk-up with cold water. My view was a well-like tiny courtyard covered with dead birds. I fell in love with the city and enjoyed the people in my neighborhood. The Theater LARA was abandoned in 1990, but has since been renovated in its Baroque style. The price of this etching (PRINT NUMBER 1 of 5 in the SECOND OF FIVE EDITIONS) includes a frame, mat, shipment box, handling, transportation costs to collector, and a Certificate of Authenticity. The artist hand printed this first edition of four editions at The CENTER FOR WORKS ON PAPER, FLEISHER ART MEMORIAL'S OPEN STUDIO IN PRINTMAKING, IN PHILADELPHIA, PENNSYLVANIA, USA. Fleisher Art is associated with the Philadelphia Museum of Art, and the artist has served as an Artist's Mentor there for eleven years. The remaining two editions will all be limited to five etchings each. The Chine Collé Process Explained: Methyl cellulose powder is reconstituted with spring water and then applied to mulberry-bark paper from Thailand (Brand Unryu); The treated paper is then allowed to dry overnight and I cut it exactly to fit the plate areas where I want color to exist in the print (I create the stencils from heavy-duty acetate. Next I trace the number of pieces I need for the etching plate). The cut, stenciled mulberry bark papers previously treated with methyl cellulose are first misted with water and placed upon the already inked and wiped etching plate. I then place the printing paper of the plate and cover then with press blankets. The manual printing process continues, and I turn the operating wheel that moves the press bed. Next I remove the blankets and lift the paper (the printed etching) with the cut mulberry bark papers now a permanent part of the etching. A multi-colored image on paper results. This hand-done process is difficult and time consuming, but well worth the physical expenditures. The best quality mulberry bark papers are from your company. About Kozo Threads: 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.)

Details & Dimensions

Printmaking:Etching on Paper

Artist Produced Limited Edition of:5

Size:9 W x 12 H x 1 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

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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