VIEW IN MY ROOM
GREEN GARDEN IN NEW ORLEANS - Limited Edition 2 of 5 Print
United States
Printmaking, Etching on Paper
Size: 12 W x 16 H x 1 D in
Ships in a Box
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Artist featured in a collection
About The Artwork
My original, hand-pulled etching, executed in 2017, was inspired by an photograph from the Print and Pictures Archive at The US Library of Congress in Washington DC; it is stored there in The Carnegie Collection of Southern Architecture and depicts an 1890s French Quarter scene from the city of New Orleans. The photo was by artist Frances Benjamin Johnson (1864-1952), who was one of the first prominent women photographers of the Nineteenth Century. French, oil-based etching ink was used on RivesBFK white paper. This is the Second Best of five in EDITION FOUR (The Last Edition). I hand-print all works at The Center for Works on Paper, a part of Fleisher Art Memorial’s OPEN STUDIO IN PRINTMAKING in Philadelphia, Pennsylvania, USA. The zinc etching plate and image size measures nine-inches high by six-inches wide; the paper measures eleven-inches wide by fifteen inches high. Mulberry bark paper from Thailand was used in the Chine collé process. Notes On The Chine Collé Process: Methyl Cellulose powder is reconstituted with spring water for at least twelve hours to produce a clear viscous substance. The artist next brushes one side of the colored paper and allows it to completely dry, which takes about eight to twelve hours. The Unryu brand mulberry-bark paper I use is hand-made in Thailand. In Japan, Unryu translates as CLOUD DRAGON, because the paper has long swirling kozo fibers threaded through it (thereby giving a cloud-like effect). Kozo fibers are harvested yearly and come from the branches of the kozo bush, specifically the innermost of three layers of bark. The fibers must be removed, cooked, and beaten before the sheets are formed. When the treated Thai paper is dry, I cut it to exactly fit the plate areas where I want color to appear in the print. These stenciled mulberry-bark papers are first dampened or misted with water and then placed upon the already inked and wiped etching plate. The printing process continues to produce a multi-colored etched image on paper. The hand-completed process is difficult, time-consuming, and laborious; but the final results are stunning. THIS PRICE INCLUDES THE MATTED ETCHING IN AN ARCHIVAL MAT; A GLASS & WOOD FRAME (Type – Edge/ Semi-Ornate) 12 INCHES BY 16 INCHES HIGH, COLOR - GOLD); ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP/PACKING MATERIALS; AND, 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:5
Size:12 W x 16 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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