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Lorca's Last Edition: Bodas de Sangre - 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 on two etchings plates to create one image--was printed in five colors of oil-based inks (French) on RivesBFK white paper; and, each edition is limited to an extremely small number of prints (six in the first edition, and five in the remaining four). Each etching plate size is 7inches high by 5 inches wide, making the image size 7 inches high by 10 inches wide. The framed work size is 16 inches high by 20 inches wide. My studio techniques included intaglio, aquatint, drypoint, and Chine collé. The etching was done in nitric acid, and required eight separate acid baths per plate. I hand printed this work in Philadelphia at The Center for Works on Paper in August of 2016. Image & Experience: The inspiration for this work came from photographs I took in 1987 while in Granada, Spain. In Spanish, “Dale Café” (pronounced Dah-LEY cah-FEY), means “Give him coffee .” During the Spanish Civil War, a right-wing military man arrested the great poet LORCA and used this phrase “Dale Café” as a euphemism for, “Take him to the firing squad.” And thus ended the life of Spain’s openly gay poet and playwright, Frederico Garcia Lorca by General Gonzalo Queipo de Llano. Lorca’s body was never found but the fascists boasted about how they killed Salvador Dali’s “boyfriend”. The experience in Granada that inspired this image evolved this way: One October night in 1987, my companion (a Cuban poet in exile) and I decided to walk in the area where Lorca's murder may have happened; as we approached a small field atop a mountain, we saw levitating spheres and heard sorrowful moans deep with the wooded area in which we found ourselves. A mist seemed to suddenly arise from the ground near a half-ruined wall as a wolf scampered out of some flowering bushes to sit in one spot. The animal howled for a few minutes and then looked directly at us. The moon appeared through wispy clouds as music of gypsies floated down from nearby caves in mountain. The wolf vanished as quickly as she had arrived. Additional spheres of white light drew close to us . . . and turned out to be a family of lightning bugs. We wandered along a dirt road as crickets beckoned us to our next turn . . . through a piney hedge into the gardens of the Alhambra, which lad been long closed for the day to tourists. We quietly walked into an area and chanced upon a large reflecting pool; a ghostly image by the on the other side of the pool faded in and out of the mirrored surfaces of the waters. We shivered within the magic of Andalucia’s night . . . and cried for poets murdered by small-minded men with large guns . . . and tiny lives. Media: Oil based French inks on Rives BFK white paper/ Mulberry bark paper (Thailand). 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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