VIEW IN MY ROOM
Printmaking, Etching on Paper
Size: 10 W x 13 H x 0.5 D in
Ships in a Box
Artist featured in a collection
Jerry DiFalco created this intaglio and aquatint etching using a zinc plate that was etched in several baths of nitric acid. It is from the First Edition of Four Editions, and each edition is limited to only five etchings. The work depicts Jack Kerouac and a friend standing outside The Kettle of Fish, a Greenwich Village Bar popular with The NYC Beat Writers during the late 1950s. This is Di Falco’s first etching in a series devoted to THE BEAT POETS, entitled “Atomic Alphabets.” The artist printed all editions on a printing press built by Charles Brand of New York City; he works at The Center for Works on Paper in Philadelphia, Pennsylvania as part of the OPEN STUDIO IN PRINTMAKING, which is connected to the Fleisher Art School and the Philadelphia Museum of Art in Pennsylvania. The image size is six inches high by four inches wide, and the print measures about eleven by ten inches. This ready to hang work comes with an archival mat and metal edged frame that measures about 13 by 10 inches. The price includes all shipment costs. Di Falco employed Charbonnel brand ink (oil-base) and Stonehenge paper (Cream colored). Size given is for framed work. The artist, Di Falco, is also a poet whose father was a jazz musician during the 1950s. He studies creative writing with Pulitzer Prize winning poet, Stanley Kunitz. Di Falco also befriended the beat poets Allan Ginsberg, Larry Ferlinghetti, and John Weiners in the 1970s and is currently working on a manuscript of his own poetry entitled, “PAINTED RELICS”.
Printmaking:Etching on Paper
Artist Produced Limited Edition of:5
Size:10 W x 13 H x 0.5 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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