VIEW IN MY ROOM
Thirteenth Street is a Jungle - Limited Edition of 4 Print
United States
Printmaking, Aquatint on Paper
Size: 16 W x 20 H x 1 D in
Ships in a Box
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About The Artwork
This triple zinc-plate etching, entitled “THIRTEENTH STREET IS A JUNGLE”, was laid out on the printing press in a vertical format. This etching is from the FIRST of FOUR EDITIONS, and the editions are limited to only four etchings each. Each of the four editions is executed in a different ink and paper color combination; and, this edition is printed with dark black ink from Paris (Charbonnel brand) on RivesBFK white paper, which is also from France. The thrust of this urban cityscape balances both the geometry of form and shading of white to black. The artist employed the studio techniques of intaglio and aquatint. The three zinc plates were etched in three individual baths of Nitric acid. The individual plate sizes are six inches wide by four inches high, which makes the image size about 12.5 inches high by 6 inches wide. The print (paper) size is about 18 inches high by eleven inches wide. The work includes an archival mat and wood frame with paper backing. All editions were hand printed and published by the artist at The Center for Works on Paper (located at 705 Christian Street, Philadelphia, Pennsylvania) within Fleisher Art’s Open Studio In Printmaking. Fleisher is associated with the Philadelphia Museum of Art. Di Falco used an industrial floor press, manufactured in New York City at the Charles Brand Company. The frame size is about 20 inches high by sixteen inches wide. This intriguing etching was based on five original drawings, executed in 2020, by the artist. Di Falco used one of his black and white photographs as a starting point and shot this 1980 street scene for his first solo show of photographs. The theme for his show—entitled CRAMPED: PHOTOS BY JERRY DI FALCO at Giovanni’s Room Bookstore in Philadelphia—was decidedly urban. This specific scene was taken at one of Philadelphia’s more notorious intersections, 13th and Locust Streets, which lies in the center of the Red Light District and “gayborhood”. The work features some of the off-color bars of this district, including The Bag of Nails. The performance art/stripper, Miss Honeysuckle Divine, made this establishment famous with her risqué act. She constructed a sandwich and fed it from the stage to audience members . . . with her genitalia muscles. The title of Di Falco’s work is from a song by the Philadelphia punk band, HEADCHEESE, called, “Thirteenth Street is a Jungle” . . . it’s a jungle . . . where I live.
Details & Dimensions
Printmaking:Aquatint on Paper
Artist Produced Limited Edition of:4
Size:16 W x 20 H x 1 D in
Frame:Black
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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