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I AM SERAPH #3 - Limited Edition of 5 Print

Jerry DiFalco

United States

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About The Artwork

This hand-printed etching of a Seraph employs the studio techniques of intaglio; the work pictured here is from the THIRD EDITION of FOUR, and all editions are limited to only five prints. I executed the work on a zinc plate covered with hard ground and etched the plate twice in Nitric acid baths. I printed and published this work at The Center For Works on Paper in Philadelphia, Pennsylvania within Fleisher Art’s Open Studio in Printmaking. My media include a blend of three colors of oil-based, French inks (Charbonnel brand) printed on RivesBFK white etching paper. The narrative is based on three of my original drawings, all inspired by a mosaic from The Monreale Cathedral in Sicily. The image shows a Seraph, which is a angel with six-wings all covered with blinking eyes in constant motion. The word SERAPH stems from the Hebrew term for “Burning Ones”. In Christian mysticism from Medieval times, this type of angel ranks in the highest hierarchy of choirs. Seraphs are deemed to be the “Caretakers” of God’s Throne, and they continuously sing the phrase, “Holy, Holy, Holy”. The title of this specific mosaic is, “Seraph with the Four Gospels”, because the angel’s four faces symbolize the manifestations of Matthew, Mark, Luke and John (a human, eagle, ox, and lion). The image size is nine inches high by six inches wide, and the print measures fifteen inches by eleven inches. The frame size is sixteen inches high by twelve inches wide. The cathedral in Monreale, Palermo, is regarded as the most dazzling of all Sicilian Norman churches. Its mosaics contain over 2200 kg of pure gold. Craftsmen from Constantinople were engaged to advance the work’s creation, and these Byzantine mosaics are classified as the most magnificent in existence. According to Dr. Ute Dercks (Kunsthistorisches Institut in Florenz, Max-Planck-Institut), evidence documents the construction to 1174, although initiatives in planning and preparation can be projected back to the death of King William I in 1166. THE PRICE INCLUDES: 1} THE MATTED ETCHING IN AN ARCHIVAL MAT; 2} A FRAME (16 inches x 12 inches, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Gold); 3} ALL HANDLING COSTS; 4} SHIPMENT COSTS; 5} CARDBOARD SHIPMENT CARTON; 6} BUBBLE WRAP & OTHER PACKING MATERIALS; AND, 7} A CERTIFICATE OF AUTHENTICITY. The work is wired and ready to hang. The framing includes a brown craft paper backing, and a wall hook and nail are included.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:8 W x 12 H x 0.1 D in

Size with Frame:13.25 W x 17.25 H x 1.2 D in

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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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