VIEW IN MY ROOM
Lama dei Peligni Under Snow - Limited Edition of 5 Print
United States
Printmaking, Etching on Paper
Size: 24 W x 18 H x 0.6 D in
Ships in a Box
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About The Artwork
A blend of oil based, French inks were employed in this etching, which was printed on RivesBFK white paper. The techniques of intaglio, aquatint, and Chine collè all unite and bestow this winter scene with a poignant and tranquil mood. The work, printed on a zinc plate that measured nine inches high by twelve inches wide or 22.860cm by 30.480cm, required three individual baths in nitric acid. The print itself measures about thirteen inches high by seventeen inches wide, or 33.020cm by 43.180cm. It ships in a mat and frame whose size is about eighteen inches by twenty-four inches, or 45.720cm by 60.960cm. This specific print, Number ONE of Five, is from the THIRD Edition. The first three editions are limited to five etchings. A mulberry bark paper from Thailand—infused with Japanese kozo threads and treated with methylcellulose—was employed in the Chine colle process. I used a Charles Brand industrial sized floor press, which was made in New York City. This work is based on original drawings adapted from a photograph I shot in 1990 while living in Madrid. I drove to this Italian village, Lama dei Peligni in the Central Province of Abruzzi, to explore the area where my paternal grandfather was born in the late 1800s. After printing this Third Edition, I decided to change the number of my editions from FOUR to FIVE. I wanted to add a nighttime sky and moon in the final two editions (Edition IV and V). This means that I will re-work the zinc plate and add another Nitric acid bath. PLEASE NOTE: On April 6, 2021, I lowered all of my etching prices by thirty to one hundred dollars. I did this because of what this Virus Crisis has done to the world economy. Therefore I will not accept any counter offers, especially since saatchionline already offers one. Someone recently offered me $150 for a $310 framed and matted print, after I had already reduced the specific print by $45. This means that I would have lost ten dollars after paying my supply costs, commission fee, shipment carton/packing materials costs, studio use/utilities, and payment of taxes. Don’t insult artists with such asinine practices. I wonder if this collector—and I use the term loosely—would dare to negotiate menu prices at restaurants?
Details & Dimensions
Printmaking:Etching on Paper
Artist Produced Limited Edition of:5
Size:24 W x 18 H x 0.6 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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