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TBILISI IN LINES UNDER RED MOON - Limited Edition of 4 Print

Jerry DiFalco

United States

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12 x 6 in ($100)

12 x 6 in ($100)

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About The Artwork

Printmaking: Etching, Drypoint, Oil, Ink, Paper on Paper, Other. This intaglio and drypoint print (which also uses Chine colle), was executed on three individual zinc plates and printed on French RivesBFK white paper (measuring about fifteen inches wide by eleven inches high, or 38.100cm by 27.940cm) with a blended mixture of two colored inks (Charbonnel brand, oil base). A mulberry bark paper treated with methylcellulose and infused with Japanese kozo threads and strips of gold foil. Di Falco used an industrial floor model press made in New York City by Charles Brand. Each plate, separated by one-quarter of an inch (0.635cm) on the press bed, measured three inches wide by four inches high (7.620cm by 10.160cm); therefore, the image size is about nine-and-three-quarters inches wide by four inches high (24.765cm by 10.160cm). The work ships to the collector in an archival (acid-free) mat within a twelve by sixteen inch frame (30.480cm by 40.640cm). This work is from the SECOND EDITION of FOUR EDITIONS, and all editions are limited to five etchings. (Please note that Print Number Four from this Second Edition was already sold, which leaves prints numbers One, Two, Three, and Five). The work was printed and published by the artist at the Fleisher Art Memorial’s OPEN STUDIO IN PRINTMAKING, which is the art school connected to the Philadelphia Museum of Art. Fleisher’s campus is on Catherine to Christian Streets between South Seventh and Eighth Streets in Philadelphia, Pennsylvania, USDA. This etching was based Di Falco’s drawings of a photo taken in 2018 by a friend and depicts a village built into the side of a mountain in Georgia’s capital city, Tbisili. The artist became interested in this city’s history and architecture after discovering that some of his maternal ancestors lived there in the Seventeenth Century. The price includes: a frame with a brown colored craft paper backing; shipment carton; bubble wrap; plastic wrapping to waterproof work: and, all shipment costs to the buyer. Narration: Georgia, an independent nation located at the crossroads of Europe and Asia, was once a Soviet republic that stretches from the Caucasus Mountains to the beaches of the Black Sea. Vardzia, an expansive cave monastery that dates to the 12th century C.E., is an international historic site, as well as the earliest wine-growing region of Kakheti. The countries capital, Tbilisi, is noted for its diverse architecture and labyrinth-like, cobblestone streets of its old town. Notes on the Chine Collé Process—Chine Collé translates from French as Chinese pasting and is a process in which dyed and treated paper is attached to the etching plate before the printing press action begins. Di Falco mixes Methylcellulose powder with spring water and then paints the resulting clear viscous substance onto hand-dyed mulberry-bark paper from Thailand. In Japan, Unryu translates as CLOUD DRAGON paper because it has long swirling threads of kozo fibers integrated in it, thereby giving the texture and visual effect of clouds. Kozo fibers come the branches of the kozo bush, specifically the innermost of three layers of bark, which must be removed, cooked, and beaten before the sheets are formed. Kozo is harvested annually. The treated Thai paper is then allowed to dry overnight and I cut it to fit the plate areas where I want color to exist in the print. These stenciled mulberry-bark papers are first dampened or misted with water and placed upon the already inked and wiped etching plate. The printing process continues, and creates a multi-colored image on paper.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:12 W x 6 H x 0.1 D in

Size with Frame:17.25 W x 11.25 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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