VIEW IN MY ROOM
United States
Printmaking, Etching on Paper
Size: 11 W x 14 H x 1 D in
Ships in a Box
Artist Recognition
Artist featured in a collection
This FIRST EDITION etching (executed in oil-based French printer's ink on American Master's cream-colored 100% natural paper) is done in violet ink. Like most of my etchings, and the image was drawn onto a zinc plate using an etching needle; the plate's surface was first coated with a ground, and after I produced the lines in this covering (ground), I placed the zinc plate into a bath of acid so that the exposed areas of the plate could etch into the zinc surface. After removing the ground with turpentine, I clean and ink the plate, and then begin to print my edition. This image was inspired from a 1953 black and white photograph of my sister and me, taken in Camden, New Jersey by my mother on Halloween. The print image measures 8 high by 6 wide (20.3 cm by 15.2 cm). The print size is about 15 x 11. There will only be three editions of ten prints each for this work. This first edition is the only one executed in the colors of violet ink on cream paper. The last two editions will be printed between 2018 to 2020. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (11 inch x 14 inch, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Silver); ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, A CERTIFICATE OF AUTHENTICITY. The work is wired and ready to hang. Framing includes a brown craft paper backing. A wall hook and nail are included. The Second and Third Editions will be limited to only four etchings per edition; moreover, they will not be printed until 2019 or 2020.
Printmaking:Etching on Paper
Artist Produced Limited Edition of:10
Size:11 W x 14 H x 1 D in
Frame:Silver
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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