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ARQUES UNDER PINK MOON – SOUL RISE - Limited Edition #2 of 3 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 11 W x 14 H x 1 D in

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About The Artwork

NOTE: The third edition will not be printed until SEptember of 2019. The plate shall be altered slightly with each edition; moreover, the last edition will contain only five prints, all dedicated to The Holy Mother Magdalene's power over Earth, Air, Fire, Water, and Spirit. Print #3 sold, but others are available for sale. This etching is also from my MYSTERIOUS PLACES/SACRED SPACES series and carries the title, ARQUES UNDER PINK MOON – SOUL RISE. The etching is appropriated from a black and white photograph I shot on location in 1987 in Southern France in an area known for its CATHAR History. This is the SECOND of THREE Editions, which does not include aquatint. The printmaking techniques employed include intaglio, Chine collé, and drypoint. This print exists in three limited editions of only ten copies each (and each edition is executed in a different color ink/paper combination). This FIRST edition is executed in a mix of colored French inks (oil-based) on Stonehenge BLACK Printmaking Paper (UK). The colored-moon was achieved with the Chine collé process by integrating a piece of treated mulberry bark paper from Thailand onto the print. Size of the image on paper (and the measurements of the zinc plate that was etched in several nitric acid baths) is five inches wide by seven inches high (13 cm x 18 cm); the actual print size (paper size) is eleven inches high by ten inches wide (28 cm x 26 cm). ARQUES is also in Occitania (the name given to the area in Southern France) where Occitan was traditionally the first language spoken. This magical area was noted for its Troubadours, Chivalry, Poetry, Ladies, & Knights; it encompasses cities like Toulouse, Montpellier, Carcassonne, and Narbonne. This is a CATHAR Castle at Arques. The Cathars were a Christian-based religious community active in Europe and especially in the area known as Catalonia in the mid 12th century. Cathars believed that God had only created spiritual perfection and eternity, not the material world that they saw as evil. Many led austere lives as celibate vegetarians. The Cathars' clergy, (The Perfects) were thought be masters of alchemy and magic. Their beliefs earned them severe persecution by the Vatican and Roman Catholic Church, as well as and the French king in Paris. The Cathars were massacred and burned at the stake. THIS PRICE INCLUDES: 1} THE MATTED ETCHING IN AN ARCHIVAL MAT; 2} A FRAME (11 inch x 14 inch, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Black); 3} ALL HANDLING COSTS; 4} SHIPMENT COSTS; 5} CARDBOARD SHIPMENT CARTON; 6} BUBBLE WRAP & OTHER PACKING MATERIALS; AND, 7} 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

Printmaking:Etching on Paper

Artist Produced Limited Edition of:10

Size:11 W x 14 H x 1 D in

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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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