VIEW IN MY ROOM
Printmaking, Etching on Paper
Size: 11 W x 15 H x 0.1 D in
Ships in a Box
Artist featured in a collection
Di Falco’s inspiration for this enigmatic work began during his research into the Gullah People, a community of freed and escaped African American slaves that settled on islands off South Carolina’s Coast long before slavery’s was end. These people developed their own Creole culture and language, and their proud descendents still thrive on the same island off of South Carolina today. The Gullah People continue to be noted for their intricate basket weaving and beautiful pottery. Doris Ulmann, an American photographer (1882-1934), documented the Gullah’s lifestyles, crafts and customs in the early part of the Twentieth Century. One of her photos depicts a baptism in a river; and it was this image that captivated Di Falco. He created five original drawings based on Ulmann’s photo and translated one of these into an etching. Di Falco has limited this etching to just three editions of only five prints per edition. These editions will be executed in a different ink and paper color scheme. After the third edition’s printing, Di Falco plans to create five additional etchings; each of these will be enhanced with watercolors and gouache, making the final run into a series of one-of-a-kind artworks that combine printmaking with painting. This hauntingly mysterious intaglio and aquatint etching by Jerry Di Falco was executed in oil base ink from Paris –Charbonnel brand—printed on RivesBFK white etching paper, also manufactured in France. Di Falco also incorporated the Chine collè process, which required treated mulberry bark paper from Thailand. A description of this technique is added at the end of the description. This etching comes with a wood and glass frame and a museum quality mat. Brown craft PAPER IS GLUED to the frame back of the frame to protect the etching. The work ships to the collector in a sturdy cardboard box, and the frame measures about 17inches high inches by 13 inches wide. The work is wired and ready for hanging. The work is executed on two zinc, etching plates that were developed in five separate Nitric acid baths. The use of multiple plates is a Di Falco trademark in his attempt to make his viewers see his scenes through a window. The print size is about eleven inches wide by fifteen inches high, and each zinc plate measures six inches wide by four inches high. A space of about .25 inches separates the top and bottom plates. This makes the printed image size to be about 8.25 by eleven inches wide. Di Falco printed and published this work of three editions at The Center for Works on Paper in Philadelphia, Pennsylvania; he used an industrial size press made by Charles Brand in New York City.
Printmaking:Etching on Paper
Artist Produced Limited Edition of:5
Size:11 W x 15 H x 0.1 D in
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.
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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