VIEW IN MY ROOM
United States
Printmaking, Etching on Paper
Size: 20 W x 16 H x 1 D in
Ships in a Box
Artist Recognition
Artist featured in a collection
Metaphysical Edition Notes: This First Edition was printed during the YEAR OF THE WATER DRAGON, The astrological sign under which I was born. The final edition (Edition IV) will be created in 2024, The Next Water Dragon Year. Editions II and III will be printed so that their posting on this site will be open in Autumn of The Year of The Pig (late-September of 2019). This odd configuration of printmaking is a Di Falco trademark and relates to the Political situations in both Washington, DC and Hong Kong, when the artist suspects an explosive situation in both locations. This is the first print in my series dedicated to life in contemporary China, entitled WALL FLOWERS. It is based on a photograph taken in Beijing by a friend in 2011 and is entitled, DUCK DUCK GOOSE: WINDOW IN BEIJING. The actual image size (the size of the printing plate) is ten inches wide (25.4 cm) by eight inches high (20.3 cm); the print size is twelve inches wide by fifteen inches high (30cm x 38cm). This work incorporates the etching technique of INTAGLIO with Chine collé (the process of adding color to an etching by merging treated, cut-out mulberry bark paper to the inked plate). I used Soft Black Etching Ink (Charbonnel brand, oil-based) onto RivesBFK printmaking paper (both made in France). The mulberry bark paper is from Thailand (Unryu Brand) and is treated with methylcellulose. This color combination is from the first VERY LIMITED EDITION of only eight prints (out of Four Editions of eight prints). Note: A collector in Honolulu owns Print Number One of the Edition. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (16 inch x 20 inch, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Black); ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, 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.
Original Created:2012
Subjects:Cuisine
Printmaking:Etching on Paper
Artist Produced Limited Edition of:8
Size:20 W x 16 H x 1 D in
Frame:Other
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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