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CATHAR CREAMSICLE CASTLE IN CARCASSONA Print - Limited Edition of 10
United States
Printmaking, Etching on Paper
Size: 14 W x 11 H x 1 D in
Ships in a Box
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About The Artwork
Dimensions below are for FRAMED sizes LAST EDITION - THIRD, Ten Prints. (FIRST EDITION OF FIFTEEN PRINTS IS EXECUTED IN BLACK INK ON WHITE PAPER; SECOND EDITION OF TEN PRINTS IS EXECTURD IN A MIX OF INKS ON BLACK PAPER) This etching is from my series entitled MYSTERIOUS PLACES/SACRED SPACES; the image is appropriated from a color photograph I shot on location in 1987. The printmaking techniques employed include intaglio, aquatint, Chine colle, and drypoint. This print exists in three very limited editions of varying colors (each executed in a different ink/paper combination). This edition is executed in French ink (oil-based, Charbonnel Brand; my own mix of three colors) on STONEHENGE black Printmaking Paper (from UK). The moon is done in the Chine colle process (meaning Chinese pasting) using treated mulberry bark paper (from Thailand) that is attached to the paper during the printing. Size of the image on paper (and the measurements of the zinc plate that was etched in acid) is 5 inches high by 7 inches wide (13 cm x 18 cm); the actual print size (paper size) is 11 inches high by 10 inches wide (28 cm x 26 cm). The Cathars were a Christian-based religious 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. It is rumored that a few Cathar leaders hid their treasures (and secret writings) in the surrounding caves/mountains before their execution. 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:14 W x 11 H x 1 D in
Frame:Black
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
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.
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