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Saints Sergius and Bacchus Painting

Jerry DiFalco

United States

Painting, Acrylic on Canvas

Size: 20 W x 16 H x 0.5 D in

Ships in a Box

SOLD
Originally listed for $590

119 Views

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ABOUT THE ARTWORK

This work is from a new series of mixed media paintings on canvas and paper, which all incorporate a fresco-like style and textured surface. I used acrylic, gesso, modeling paste, and pulverized mica and mother-of-pearl on an oval shaped stretched canvas on wood. The size measures 20 inches wide by 16 inches high. The canvas-covered sides are painted in acrylic, so no frame is necessary. The work was inspired by a 7th Century icon from St. Catherine’s Monastery on Mt. Sinai in Israel, which is now in an art museum in Kiev. It portrays Saints Sergius and Bacchus, two Roman soldiers killed for their Christian beliefs. The Early Christian church was quite tolerant of same-sex relationships and had a ritual equivalent of a marriage blessing. For more information, please go to the website and read the article by Kittredge Cherry. This one-of-a-kind artwork is shipped in a cardboard box and is wired and ready to hang.

DETAILS AND DIMENSIONS
Painting:

Acrylic on Canvas

Original:

One-of-a-kind Artwork

Size:

20 W x 16 H x 0.5 D in

SHIPPING AND 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.

Artist Recognition
Artist featured in a collection

Artist featured by Saatchi Art in a collection

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