VIEW IN MY ROOM
Mixed Media, Ink on Paper
Size: 30 W x 22 H x 0.5 D in
Ships in a Box
Artist featured in a collection
This one of a kind work involves my statement about people who refuse to get vaccinated against the COVID virus. The mixed media work--a combination of collage and printmaking--contains sixteen individual intaglio etchings mounted in four lines of four directly onto a sheet of French RivesBFK white paper. The zinc plate prints were developed in Nitric Acid; and, the scene was inspired by my interpretation of a Goya aquatint entitled, THE SLEEP OF REASON PRODUCES MONSTERS, translated from the Spanish, “El sueño de la razón produce monstruos”. Francisco Goya created the work between 1797 and 1799 for the Diario de Madrid; it is the 43rd of 80 aquatints making up the satirical Los Caprichos. My intaglio etching is executed on three types of printmaking paper: RivesBFK white; Stonehenge Cream, and Stonehenge Black. I employed blends of oil base Charbonnel brand inks from Paris. The overall size of my work is about 22 inches high by 30 inches wide. It ships to the collector without a matt or frame in a cardboard box. Again to repeat, my work includes sixteen double mounted etchings on RivesBFK white paper from France with archival glue. The shipment without a mat and frame keeps the price reasonable and also endows the one buyer with a range of framing choices.
Mixed Media:Ink on Paper
Size:30 W x 22 H x 0.5 D in
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.
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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