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Jerry DiFalco

United States


Size: 20 W x 16 H x 1 D in

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About The Artwork

This print (3/10; Violet Edition) is from a series of etchings inspired by the novels of Anne Rice. The numbers simply mean that this is the SECOND EDITION (the Violet Edition), and this is Print Number Three of Ten Prints (3/10). Only the First two editions are now printed; each has ten prints per edition. Edition One is The BLACK EDITION. Editions Three and Four will be printed in 2015. The techniques in this work include intaglio, aquatint, and drypoint. (The aquatint was achieved without resin or spay paint, but with various types of sandpaper applied directly to the plate impressed directly into a hard ground on the press before the acid bath.) This second edition uses a special blend of colored inks on RivesBFK gray paper. The zinc plate size was 10 inches wide (25.4 cm) by 8 inches high (20.3 cm); the print size is 12 inches wide by 15 inches high (30cm x 38cm). The image is from a photograph taken in 2009 by a friend. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (20 inch x 16 inch, Type – Glass & Wood Edge / Semi-Ornate Style, Color - Silver); 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

Print:Etching on Paper

Artist Produced Limited Edition of:10

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.

STATEMENT Imagery and storyline are vital components of my visual creative process. Consequently—aside from my experiments in abstraction—photography plays an intricate role in my artistic strategy, especially with regard to my intaglio and aquatint etchings. In view of that, my images originate from my own photographic portfolio, as well as from the works I uncover in the Digital Archives of academia, historical societies, and museums. Upon finding an image I wish to etch, I first draw several versions of the likeness; Next, I transfer the selected original drawing onto my prepared zinc plate. I endeavor to establish links between the metaphysical and physical . . . between the realms of dream and intellect . . . between the natural and fabricated. In a sense, I believe that art unveils all that we mask behind our assumptions and biases . . . or rather, those realms we neglect to see. Ironically, I blame this failure “to see"—what I call the “Phenomenology of Non-Connectedness"—on today’s obsession with new communicational technologies, especially “The Social Media Diversion”, the opiate of the masses. 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 twenty-four hours, I draw images with needles and other tools into the dried ground. Next, the exposed areas on the treated plate is “etched into” the zinc in a bath of Nitric Acid and spring water. NOTE: anywhere from two to seven additional plate workings and baths are required to reach my desired effect. A plate cleaning with mineral spirits, oil of lavender, and industrial alcohol is required after every bath. 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, cover it with papers and press blankets, and roll it through the printing press to obtain my first print. This process is repeated until all editions are created. (NOTE—I use a floor-model, industrial press manufactured in New York City by Charles Brand.) The studio techniques I employ include: Intaglio; Aquatint; Drypoint; and Chine colle. The last-mentioned technique uses mulberry bark paper from Thailand infused with Japanese kozo threads and hand-treated with methylcellulose.

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