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Fishers Of Men - Limited Edition of 1 Print

Jerry DiFalco

United States

Printmaking, Etching on Paper

Size: 30 W x 20 H x 0.1 D in

Ships in a Box

This artwork is not for sale.
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About The Artwork

Full Title: AND YOU SHALL BECOME FISHERS OF MEN Unframed Size: 30.5 inches wide by 20.5 inches high Genre: Printmaking (Monoprint, Etching, Gyotaku, Chine collè) & Collage Mixed Media on Paper (Thai mulberry bark paper, Japanese Rice Paper, Kozo Threads, Rives BFK white paper, Windsor Newton Printing Inks, Gloss Acrylic Gel, Snow white Imperial Paper, Methyl Cellulose, Gold Color Pencil, Charbonnel oil base etching ink, Acid free blotter paper, Hunts water base relief ink, Oil of Spike Lavender). Narrative: This multi-layered work combines several printmaking techniques including etching (intaglio), monotype, relief printing, Chine collè, and Japanese Gyotaku. The later most technique involves the printing of fish (real of rubber cast) via the rolling of ink onto fish and then pulling a print. It’s geometric flow between the horizontal and vertical planes is balances with multiple levels of optical design. It’s narrative involves the New Testament line that, “You shall become fishers of men.” This one-of-a-kind work ships wrapped, flat, and in a cardboard box. It does not include either a mat or frame. Price includes all shipment costs.

Details & Dimensions

Printmaking:Etching on Paper

Original:One-of-a-kind Artwork

Size:30 W x 20 H x 0.1 D in

Shipping & Returns

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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