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LORCA’S DREAM: GIVE HIM COFFEE AND ETERNITY - Limited Edition 1 of 5 Print

Jerry DiFalco

United States

Printmaking, Aquatint on Paper

Size: 20 W x 16 H x 1 D in

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About The Artwork

EDITION & MEDIA NOTES: This etching, executed in oil-based ink (French) on natural papers, currently has two finished editions; each edition is limited to an extremely small number of prints (six in the first edition, and five in the remaining four). Editions III, IV, & V (3, 4 & 5) will be printed between July and August 15, 2016. The studio techniques I used are intaglio, aquatint, drypoint, and Chine collé. The etching was done in a nitric acid bath, and this work required eight separate baths per plate. The color for this edition is a blend of two different ones, including metallic gold. The paper used is Rives BFK white (France). The artist hand printed these works in Philadelphia at The Center for Works on Paper. I used Thai, hand-dyed mulberry-bark paper and methyl cellulose in the Chine collé process, which adds a slight amount to this edition. The Chine Collé Process Methylcellulose powder is re-constituted by mixing it with spring water and then applying the clear viscous substance to hand-dyed mulberry-bark paper from Thailand (Brand Unryu); In Japan, Unryu translates as CLOUD DRAGON paper because it has long swirling threads of kozo fibers integrated in it, thereby giving the texture and visual effect of clouds. (Kozo fibers come the branches of the kozo (paper mulberry) bush, specifically the innermost of three layers of bark, which must be removed, cooked, and beaten before the sheets are formed. Kozo is harvested annually.) The treated Thai paper is then allowed to dry overnight and I cut it to fit the plate areas where I want color to exist in the print. These stenciled mulberry-bark papers are first dampened/misted with water and placed upon the already inked and wiped etching plate. The printing process continues, and a multi-colored image on paper resulting. This hand-done process is a difficult and laborious one, which I do myself every step of the way. SIZE NOTES: I used two zinc metal plates for this “etched diptych”; each plate measured seven-inches high by five-inches wide (17.780cm x 12.700cm); with the small separating space between the left and right plate, the image size measures slightly over seven-inches high by ten-inches wide (17.780cm x 25.400cm). Image & Title: The inspiration for this work came from photographs I took in 1987 while in Granada, Spain. The title “Dale café. And With These Words . . . Lorca Vanished; Cries in Granada.” Is a combination of English and Spanish words. In Spanish, “Dale Café” (pronounced Dah-LEY cah-FEY), means “Give him coffee .” However, during the Spanish Civil War, a right-wing military fascist used this phrase as a euphemism for, “Take him to the firing squad.” And Spain’s openly gay poet and playwright, Frederico Garcia Lorca was killed when General Gonzalo Queipo de Llano exclaimed. "Dale café, mucho café”. Lorca’s body was never found but the fascists boasted about murdered Salvador Dali’s “boyfriend”. A Cuban poet and I once walked in the area one October night where the murder may have happened; as we approached a small field atop a mountain, we saw levitating red spheres and heard sorrowful moans deep with the wooded areas we found ourselves. 1/5;II/V appears on the prints lower left corner. This stands for The best (First) print of five prints in the edition; Second Edition of Five Editions. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (16 inch x 20 inch, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Gold); ALL HANDLING COSTS; SHIPMENT COSTS; CARDBOARD SHIPMENT CARTON; BUBBLE WRAP & OTHER PACKING MATERIALS; AND, A 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:Aquatint on Paper

Artist Produced Limited Edition of:5

Size:20 W x 16 H x 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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