VIEW IN MY ROOM
Chapel of the Arc - Limited Edition of 5 Print
United States
Printmaking, Aquatint on Paper
Size: 12 W x 9 H x 1 D in
Ships in a Box
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About The Artwork
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. Media includes RivesBFK cream paper, Charbonnel oil-base etching inks (both French), and Thai mulberry bark paper. Etching techniques include aquatint, drypoint, Chine colle and intaglio. Inspired by a friend's photo and based on original drawings by DiFalco. Size given is for framed work. Features the Chapel of the Arc in Ethiopia, a sacred place where the orthodox monks claim to guard the Arc of the Covenant, taken by the Romans from Jerusalem in 70 AD. The curator-monk in charge of maintaining the Arc eventually goes blind and suffers from radioactivity. Exodus 25:10-22 New American Standard Bible (NASB) Ark of the Covenant 10 “They shall construct an ark of acacia wood two and a half [a]cubits [b]long, and one and a half cubits [c]wide, and one and a half cubits [d]high. 11 You shall overlay it with pure gold, inside and out you shall overlay it, and you shall make a gold molding [e]around it. 12 You shall cast four gold rings for it and [f]fasten them on its four feet, and two rings shall be on one side of it and two rings on the other side of it. 13 You shall make poles of acacia wood and overlay them with gold. 14 You shall put the poles into the rings on the sides of the ark, to carry the ark with them.15 The poles shall [g]remain in the rings of the ark; they shall not be removed from it.16 You shall put into the ark the testimony which I shall give you. 17 “You shall make a [h]mercy seat of pure gold, two and a half [i]cubits [j]long and one and a half cubits [k]wide. 18 You shall make two cherubim of gold, make them of hammered work [l]at the two ends of the mercy seat. 19 Make one cherub [m]at one end and one cherub [n]at the other end; you shall make the cherubim of one piece with the mercy seat at its two ends. 20 The cherubim shall have their wings spread upward, covering the mercy seat with their wings and [o]facing one another; the faces of the cherubim are to be turned toward the mercy seat. 21 You shall put the mercy seat [p]on top of the ark, and in the ark you shall put the testimony which I will give to you. 22 There I will meet with you; and from above the mercy seat, from between the two cherubim which are upon the ark of the testimony, I will speak to you about all that I will give you in commandment for the sons of Israel.
Details & Dimensions
Printmaking:Aquatint on Paper
Artist Produced Limited Edition of:5
Size:12 W x 9 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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