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Orvieto: A Geometric Premonition - Limited Edition 1 of 4 Print
United States
Printmaking, Aquatint on Paper
Size: 18 W x 24 H x 1 D in
Ships in a Box
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About The Artwork
This first edition of four is limited to an intimate number of only FOUR original etchings per edition. Three additional editions in other color ink and paper combinations were also published. The original etching—a vertical diptych—was executed on two zinc plates each measuring six-inches high by nine-inches wide, or 15.240cm by 22.860cm. This makes the printed image slightly larger than twelve inches high by nine inches wide, or 30.480cm by 22.860. Five colors of oil-based, French inks were employed and Stonehenge cream colored paper. A mulberry-bark paper from Thailand—used in the Chine collé process—contained Japanese kozo threads. The actual print measures about seventeen inches high by fifteen inches wide, or 43.180cm by 38.100cm. The artist hand-printed all editions on a floor STRAND brand press. STORY ABOUT THE IMAGE: The Italian town of Orvieto contains numerous willowy medieval alleyways. One can stroll back into time here and find the most astounding façades. The cathedral soars seven stories into the sky and was designed by Lorenzo Maitani, who initiated construction in 1300 A.D. The structure was completed over 100 years later. An amazing contrast exists between the building’s over-elaborate façade and the simplistic design of the oblong interior of the structure. The horizontal stripes of black and white marble and the external niches all imply that Arnolfo di Cambio, the Florentine architect, designed the plans. The church hosts a delicately carved rose window on the façade surrounded by framed marble busts and life-sized sculptures, all in gothic niches. Painted and sculpted scenes of Genesis and the “Divine Comedy” decorate the building. Luca Signorelli created bone-chilling paintings throughout the cathedral and was influenced by the apocalypse-preaching zealot Savonarola—who was also burned on the stake as a heretic. Some claim that Savonarola's execution was witnessed by Signorelli and influenced the artist’s painted images of demons, fallen angels, and tortured sinners. THIS PRICE INCLUDES: THE MATTED ETCHING IN AN ARCHIVAL MAT; A FRAME (18 inch x 24 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. The SAATCHI price includes all regular, domestic (US) shipment costs.
Original Created:2017
Subjects:Architecture
Details & Dimensions
Printmaking:Aquatint on Paper
Artist Produced Limited Edition of:4
Size:18 W x 24 H x 1 D in
Frame:Gold
Ready to Hang:Not applicable
Packaging:Ships in a Box
Shipping & Returns
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
Handling:Ships in a box. Artists are responsible for packaging and adhering to Saatchi Art’s packaging guidelines.
Ships From:United States.
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United States
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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