VIEW IN MY ROOM
United States
Printmaking, Etching on Paper
Size: 9 W x 12 H x 0.6 D in
Ships in a Box
Artist Recognition
Artist featured in a collection
This scene—based on several original pencil drawings by the artist of a black and white photograph from the Temple University Libraries (Special Records Research Center)—shows an elderly woman at 1004 Kater Street in Philadelphia, Pennsylvania. Kater Street is a narrow alley in Central Philadelphia located between South and Bainbridge Streets; this area housed both European and African-American peoples in a neighborhood that had begun to fall into decay during the beginning of the 20th Century. It is a study for a larger etching CALLED “THE HERBALIST”. These works will become part of a portfolio of works devoted to the magical folk of Philadelphia before the arrival of the 20th Century. This intimate work was executed on zinc etching plate whose size was 4 inches by 6 inches. Three nitric acid bathes (in combination with intaglio and aquatint) were employed to arrive at the final design. Media included RivesBFK beige paper and oil based etching inks from Paris. The work is sold in mat and frame that measures 12 inches high by nine inches wide. The paper (or print) measures 10 inches by 11 inches. The price includes shipment costs and packing carton with bubble wrap. This work was hand printed on a Charles Brand industrial sized press, which was manufactured in New York City, New York. The artist printed and published the three editions at The Center for Works on Paper, where he serves as a Studio Monitor and Mentor for the professional artists in the Open Studio In Printmaking. This program is associated with the Fleisher Art Memorial, which is a school of fine art connected to The Philadelphia Museum of Art.
Printmaking:Etching on Paper
Artist Produced Limited Edition of:5
Size:9 W x 12 H x 0.6 D in
Frame:Gold
Ready to Hang:Not applicable
Packaging:Ships in a Box
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.
Artist featured by Saatchi Art in a collection
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