VIEW IN MY ROOM
United States
Printmaking, Aquatint on Paper
Size: 18 W x 10 H x 0.1 D in
Ships in a Box
Artist Recognition
Artist featured in a collection
This triptych (three zinc-plate etching) was inspired by a photograph of the cathedral ceiling in Bath, England, taken by a friend in 2013; moreover, the unique perspective and view were obtained by pointing her camera and focusing on the ceiling from a horizontal position on the abbey floor. Each plate measures four-inches wide by five-inches high (10.160cm c 12.700cm) making the overall image area (including the plate-separating spaces) approximately twelve-and-a-quarter inches wide by five inches high ( 31.000cm wide x 12.700cm high). The print (paper) size is about eighteen-inches wide by ten-inches high (45.720cm x 25.400cm). My studio techniques included aquatint, intaglio, dry-point, and Chine collé. I hand printed these etchings at The Open Etching Studio in The Center for Works on Paper in Philadelphia, which is a part of The Fleisher Art Memorial. The paper used was RivesBFK white, and the etching ink was oil-based. The red overlay paper with gold threads is a mulberrybark paper from Thailand. Please note that this etching is shipped and sold to the buyer without a frame or mat. This keeps the price reasonable and also allows the collector a wide range of choice in framing selection. For shipment, a sturdy cardboard box is employed. The etching is first wrapped in two layers of acid free glassine and then placed between two archival boards. This is next placed into the shipping box and securely packed with bubble wrap. The SAATCHI price includes packaging, handling, and all domestic (US), regular shipment costs.
Printmaking:Aquatint on Paper
Artist Produced Limited Edition of:4
Size:18 W x 10 H x 0.1 D in
Frame:Not Framed
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.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
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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