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GIVE LORCA COFFEE! THAT'S ALL FOLKS; A CARTOON MURDER - Limited Edition 1 of 5 Print

Jerry DiFalco

United States

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12 x 9 in ($100)

12 x 9 in ($100)

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About The Artwork

EDITION & MEDIA NOTES: THIRD OF FIVE EDITIONS: This etching--executed on two etchings plates to create one image--was printed in five colors of oil-based inks (French) on RivesBFK white paper; and, each edition is limited to an extremely small number of prints (six in the first edition, and five in the remaining four). Each etching plate size is 7inches high by 5 inches wide, making the image size 7 inches high by 10 inches wide. The framed work size is 16 inches high by 20 inches wide. My studio techniques included intaglio, aquatint, drypoint, and Chine collé. The etching was done in nitric acid, and required eight separate acid baths per plate. The colours for this edition is a blend of three black inks. The white paper is Rives BFK white (France). Mulberrybark paper from Thailand was used in the POP-ART colors used in the Chine collé. SIZE NOTES: I used two zinc metal plates for this “etched diptych”; each plate is seven-inches high by five-inches wide (17.780cm x 12.700cm); and with the small separating space between the left and right plate, the image size measures slightly over seven-inches high by ten-inches wide (17.780cm x 25.400cm). Storyline of EDITION The title of the FIRST EDITION is “Dale café. And With These Words . . . Lorca Vanished; Cries in Granada.” (I used both English and Spanish words.) In Spanish, “Dale Café” (pronounced Dah-LEY cah-FEY), means “Give him coffee .” However, during the Spanish Civil War, a right-wing military fascist used this phrase as a euphemism for, “Take him to the firing squad.” And so . . . Spain’s openly gay poet and playwright, Frederico Garcia Lorca, was killed when General Gonzalo Queipo de Llano exclaimed. "Dale café, mucho café”. Lorca’s body was never found but the fascists boasted about how they had murdered Salvador Dali’s “boyfriend”. The inspiration for this work came from an experience I had while in Granada, Spain (1987); the image is from photographs I took in the Alhambra. This experience happened while on sabbatical in Spain. One night in October, a Cuban poet (Nelson Blanco [1947-1993] ) and I were searching for the area where the Spanish poet, Lorca, was murdered during the Spanish Civil War. Our research led us to a rural area outside Granada. As we approached a small field atop a mountain, we saw levitating red spheres and heard sorrowful moans deep with the wooded areas in which we found ourselves. Lightning bugs painted eerie lines in the night as we listened to howling dogs; and, after midnight gypsy music floated from the caves of Sacre Mont. We somehow walked up a mountainside and went thought some tall hedges, following a line of lightning bugs. We realized we had walked into the Gardens of the Alhambra, where I shot this photo of a cloaked figure standing by the reflecting pool. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (16 inch x 20 inch, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Black); 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

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:12 W x 9 H x 0.1 D in

Size with Frame:17.25 W x 14.25 H x 1.2 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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